Portrait Drawing Course; Learn Beginner Head Drawing Techniques | Robert Joyner | Skillshare

Portrait Drawing Course; Learn Beginner Head Drawing Techniques

Robert Joyner, Making Art Fun

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35 Lessons (8h 19m) View My Notes
    • 1. Course Introduction

      2:08
    • 2. Overview & Materials

      3:05
    • 3. Eyes 101

      17:13
    • 4. Eye Socket With Skeleton

      11:36
    • 5. Socket Lecture

      16:09
    • 6. Placement

      16:38
    • 7. Master's Analysis Eyes Part 1

      14:57
    • 8. Master's Analysis Eyes Part 2

      13:14
    • 9. Master's Analysis Eyes Part 3

      11:36
    • 10. Eye Assignment

      25:41
    • 11. Robert's Take Eyes Part 1

      13:08
    • 12. Robert's Take Eyes Part 2

      13:26
    • 13. Nose Part 1

      22:32
    • 14. Nose Part 2

      16:02
    • 15. Masters Analysis Nose Part 1

      11:08
    • 16. Masters Analysis Nose Part 2

      18:15
    • 17. Nose Assignment

      24:51
    • 18. Robert's Take Nose Assignment Reel

      24:58
    • 19. Mouth 101

      17:28
    • 20. Upper & Lower Lips Part 1

      15:19
    • 21. Upper & Lower Lips Part 2

      10:39
    • 22. Master's Analysis Mouth Part 1

      13:03
    • 23. Master's Analysis Mouth Part 2

      10:31
    • 24. Mouth Practice Reel Assignment

      24:44
    • 25. Robert's Take Mouth Assignment Part 1

      11:55
    • 26. Robert's Take Mouth Assignment Part 2

      12:02
    • 27. Ear Placement(s)

      14:51
    • 28. Ear Perspectives Part 1

      16:14
    • 29. Ear Perspectives Part 2

      10:33
    • 30. Master's Analysis Ear Part 1

      12:46
    • 31. Master's Analysis Ear Part 2

      9:06
    • 32. Master's Analysis Ear Part 3

      10:41
    • 33. Ear Assignment

      15:48
    • 34. Robert's Take Ear Assignment

      16:30
    • 35. Congratulations & Final Thoughts

      0:22

About This Class

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Welcome to Portrait Drawing Course, Beginner & Intermediate Techniques

In this class you will expand on the beginner structures taught in Drawing The Human Head Part 1. This will include taking a closer look at four key portrait features;

  1. Eyes
  2. Nose
  3. Mouth
  4. Ears

Each feature will be broken down into basic, easy to understand and draw shapes. Plus you will discover how they lay on top of the beginner structures and how each one transitions and connects to the next feature.

Who is this course for?

This course is designed for intermediate and aspiring creatives that want to add more depth and realistic features to their human head drawings.

What do you need to get started?

  • As I mentioned earlier I highly recommend you take the beginner head drawing course here on Skillshare, or have a very good understanding of basic head construction.
  • Any medium will do from digital to analog. Feel free to draw with any device and on any surface you have available.

Class Overview

  • There are four sections; eyes, nose, mouth and ears
  • Each section as several lectures along with demos that breakdown the key structures you need to master
  • Master's analysis that show how some of the great artists used the ideas and techniques in their head drawings
  • Assignments for each section, that's four total
  • My take on each assignment so you have something to compare your work to

Included in this class are;

  • All demo images
  • All model images free to download
  • All Master's drawings used as examples
  • All images are available via zip file(s)

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Transcripts

1. Course Introduction: Hi there. I'm Robert Joyner. I've been a full time artist for over 15 years and counting. I've worked for many well known brands such a CBS Kentucky Derby Carnival Cruise Lines to just name a few in this intermediate had drawing course, but what you dive into four main part and they will be the eyes, nose, mouth and ears. Now, as I mentioned, this is an intermediate course, so you should have experienced drawing the human head. Or you should have taken part one of this series. That link is in the description. So in this in depth course, before you work through a series of lectures, and we will also take a look at some of the great masters like Raphael, Dillman, Rockwell, Santorum Oh, and a few others, and we will see how they used some of these structure ideas in their drawing. Together, we will work through a series of projects where we will create studies using models, and when you are finished with your project, you can sit back and relax and see how I tackled the same exact images on June. This will give you something to compare your work to. I've included all of the resource images. He had the option to download all of the works I did for the demos, the Masters and then also the model pictures. I'm going to share all of the tips that I have for drawing intermediate structures for the eyes, nose, mouth and ears. Because I want you to get to the end of this course. Had the skills to draw beautiful had drawings. I hope that you're excited to get started. We're going to kick things off with a quick overview of what you can expect. A quick look at materials and then we'll dive into the eyes. I will see you on the inside. Thanks for watching. 2. Overview & Materials: Hi there. I'm Robert Dorner. I just wanted to thank you for being here today to support one of my courses. I'm excited, Toe, have you? I'm also excited to share this content with you now, before you dive in. I wanted to take a moment here just to explain the course and what you can expect. So this course is divided into four sections. You had the eyes, nose, mouth and ears. Each section has a detailed lecture. Now, in that lecture, I'm going to do a demonstration. I encourage you to do that. It's really a good exercise to do. So as I explain things and break them down, grab a pencil, grab a pen, whatever you like to draw with and just draw along with me. It's a great time to add to your experience. And then that way we get to the assignment. You're better prepared. So the lecture is the first part of each section, and then we'll take the ideas I share with you, and we'll look at some of the masters work, and that's a great way just to compare and see how some of these ideas are used in their head drawings. now there's also an assignment, which includes a practice real. This is a series of model images, and you will be asked to draw a specific body part based on the lecture and some of the ideas I shared with you. Now, if you need more time, obviously you can pause the video. I've also included the images of all the models. So if you want to download those, you'll find him in the resource is. And then lastly, you're going to see me complete the same exact assignments as you. And this is a great way to add to the online learning experience. They'll give you something to compare your work, too. Not that my work is more correct than yours, but it's just something nice to have their that way. You're not just left with your drawings. You're actually seeing the teacher go through that same process. And of course, I will narrate and talk you through what's going on in my head. Okay, now, I'm not going to preach to you here. I do recommend you roll your sleeves up and get busy, complete those assignments and then share some of your work. I would love to see it. As far as materials are concerned, I'm going to use just some standard student grade drawing paper. It has a pretty smooth surface. If you have print paper, you can use that. I would avoid paper that has too much texture to it. That would just make your drawings look a little bit rough. You can draw with an ink pen, graphite, charcoal. Whatever you have available. I tend to draw on sheets of paper that are about 18 by 24 inches. But whatever size works for you, it should do just fine for this course. And obviously you can use digital media as well that that's your medium of choice. So without any further ado, let's kick things off with the eyes. 3. Eyes 101: All right, Welcome to the first lecture in the Siri's, and I'm going to start with the I. So you know, the I is also referred to and call the eyeball. And for that reason, we're going to just start with a circle. I'll make this a little bit bigger. There you go, something like that. And so that's the main shape of the eyeball. And then in that you have what's called the iris. Okay, so the iris is the colored part, so blue, hazel, green, brown, whatever it may be. So I can, um, maybe give that a little shade. I want to come back and add a little bit more, and then you have the pupil. The pupil can vary in size, depending on light. Also, the people well oftentimes have a little reflection and did my best there with that. But that reflection gives it that life line, that lubricant. That's important because the I is constantly moving and it's and because it's constantly moving and you have an eyelid that covers it, we blink and sleep and think things like that. Um, that lubricant just makes everything work a little bit better, and you have a little bit less friction. You also have to remember that the I fits into the eye socket. So for those of you that took and watch part one of drawing the a human head one of the last Siri's and that was talking about box construction from this idea that we're using corners, the front plane, side planes, planes that kind of our angular like in the forehead and cheeks and jaws and underneath die gastric playing things like that, um, And then he had the eye sockets and eye sockets or the, um, trust, say where the eyes are. So when you have that, um, the head, I'll just do a real small here. Now just do an egg shape. The seeing here are the eyes and be draw center line and it's a Your eyes are in here for now. And then you have your eyebrow thing. You have this kind of keystone upside down or Keystone shape. They're in between the eyes and so the eyes basically from here to the eyebrow and here sink in a little bit. And then over here to save this is the corner. This is your eyebrow arch up somewhere in here usually maybe is round, but in here, this will kind of curve back then. Up in here somewhere, you have the top of your forehead. You'll have a hairline or whatever. Um, so basically, if I turn that to the side, I'll just put my ears here. So you have a little bit better reference in here, you know, a little bit to top of the skull, and then that should be all we need for now. So basically, this this is kind of considered, you know, your front plane, and that's going to change out kind of tapers. We get down in the mouth, which I don't worry about. And if we turn that to the side real quick and I do a little upside down sale, which is, you know, that's how I like to draw a lot of times. So this will come out. And there were the eyes are it'll sink back in right here, touch that line, and then come out where the noses and then we'll get down to the mouth of the chin and all that. Okay, So right here And then, of course you have your cheeks. Which kind of go way out here. When did it start to kind of come back in? But right in there is what I'm talking about. And this is where you're so this is your eyebrow and your eye is gonna sit right and there so that I was sitting in in that little space. And, of course, as the head turns as it rotates up, up, back and angular, maybe turned slightly to the side and up or down, that's gonna have an effect on how that I shape will appear. So that's just something we need to keep in mind as we move forward. If you didn't watch that box construction Siri's you know, I definitely recommend you go back and have a look at that because that will kind of get us on the same page. So, eyebrows, Andi, So just something to keep in mind about the eyeball. We're gonna talk a lot more about that as we move forward. But for now, let's talk about what that looks like from a side angle case. It would do our circle here. So again, we're dealing with a ball. Okay, That really doesn't change in space. If we take that I that is facing us and here and now it's here, Still still a ball. But now the I'll make that a little bit darker here, Um, Now the actual iris becomes kind of a sliver, but it also looks like it's, um, like painted on. And when I say painted on basically it it has no form. Okay, so when you see it in this way, it's not gonna, like protrude out, obviously from the I. Now, the interesting thing here is if we put it back in the middle, okay, Something like that. It will be somewhat of a circle. Okay, I have a terrible circle, bad drawing on my part. But as that as it rotates, Okay, as it starts to look in either direction, look up back. Whatever. There will be an evolution in the shape. So maybe if it's here, There, look something like that, um and then you'll know this one will be affected as well. So maybe get the wrong pen. I'll make that a little bit darker like that. I'll make this a little bit darker. The edge. So it's just seeking, really. Concentrate on what it is I'm talking about. So here we have our nice circle. And here we didn't have had this little sliver, right, And there it will kind of look a little bit different. So basically, um, as it rotates, there's there's that evolution I talked about. So if we did a circle like this, and then we went all the way over here to almost a straight like that, okay, it'll kind of start to change until it gets flat. Okay, so it starts out a nice clean circle. Okay, Now it becomes more of like a almost an oval until eventually it has becomes flat. Okay, so there's that sort of change and shape happening as the I looks and different directions . So in other words, it's not always going to be a perfect circle, Especially if you're dealing with, um the head turning and or the eyeball looking down, up away from you. So only Thomas really perfectly straight or circle circular. A ziff that eyes is looking right at you. The last part we're going to talk about of the I Well, for now anyway, would be the cornea. So the cornea is this built in contact lens, if you will, and it fits kind of over to go a little bit darker. So this is the edge of the eye here. I'm gonna use my gray so it comes down and it goes over the this part of the eye. Okay? And it's important because, as you can see, there is a distinct bulge happening there. So this is going to come out and then go around that and then back in, Okay, What gets affected by that mostly is gonna be the upper eyelid. So he looked at Ah, let's just kind of do with generic I for a second. This almond shaped for is fine for now. So there's our eyeball, Andi. So I ball is, is here, right. And then this would be our iris. And then this is the people. And what happens is we have an eyelid appear and the eyelid will come down most of the time and then kind of maybe even go over that, so there's gonna be a slight change and how that works. So if this were the island, it's going to go over that bulge right in here and then back and then correct and oftentimes, beginners. We'll put an eyelid here. And they you won't ever really see any sort of, uh, awareness of that, so that I live with just a lot of times cut right over. And that's why they will start to look kind of flat. Um, but in reality, again, it's gonna curve over now. The lower lid, while I'm kind of added here, doesn't move much, so this upper lid moves a lot. Okay, so basically, it's going to open up and then slams shut, you know, down and here. So that eyelid does upper eyelid does most of the movement where the bottom lid doesn't move that much. So the upper one is the one that's going to kind of move up and over that little bulge right there. So it is something important to keep in mind as we move forward. Okay. So the three mean get your eyeball, you've got your iris. You've got your pupil. You've got this little, um, lubricant. That's why you often see those little specks of reflection on that wet surface. He had this idea that the I from the side is just a little sliver of that circle. So the circle was always going to change and shapes. If I took ah the top of my my lens cover and then there it is. This represents your iris looking at you. And then as that turns away from you, you'll start to see how that I can hold. It changes that sort of thing happening Now the next thing you need to consider whenever we're looking at the I and I talked a little bit about this earlier is that you have this eye socket so it's sitting inside, protected in the skull. So why did the eye socket basically eye socket would come around, and that may be getting a little bit too out of ink. Try again. So coming around and like this curving up and then I don't like that as pretty crude. I know, but that's kind of how it works. So basically we were trying to put this and relationship to everything else. Ah, your nose would be over, over and here kind of upside down heart, something like that. Your other I would be over and there's this would be the left eye, but it's gonna be on the rate cause it's facing us. 4. Eye Socket With Skeleton: All right, now, we're obviously looking at the skeleton here. The sockets themselves, they're pretty wide. So I mean, we're looking at something that almost goes across like that, Um, and obviously there, on the front of the skull, being that we are predators, we can see forward with both eyes, assuming they worked. And so this is our eyes we can see forward and being able to see with both eyes like that, Able enables us to see death. And this has absolutely nothing to do with drawing the eye. But it's just something we want to keep in mind. And sometimes knowing why something is will help us perhaps get a little more insight into , um, you know how to draw it and just give us a little more knowledge. No, if we look at the eye sockets and I had two little balls there, too little circles that I put in the eyes, they kind of sit obviously in that socket. And when we turn our attention, I'm going to change my color on my pen here for one second. When we look at this profile view, the thing I want to point out to you is and what I want you to to make a aware of make you aware of is that we have this eyebrow. So this bone right there above the eyebrow protrudes out the cheek in here protrudes out, as does the the nose right there. And so, if I would have put a little ice ball in there on that design and the skull basically protects the eye. So if you were to get is a baseball bat and someone swings, it strikes you here. Side here, Um, that skull structure and that socket the way is design is that way because it will help protect you. So in theory it is. The eye is somewhat protected in that socket. As you know, the eyes are very sensitive even. Ah, light scratch. Sometimes you're a little dust in there. We'll make you very uncomfortable. Another thing I want to point out is the bone structure here. And this is obviously ah, computer generated version. This is not we're not looking at a real skull, but the right here, the browse, the top of the sockets. That bone is very thick. Ah, much thicker than the skull cap. All right. And it's that way again because it is designed to protect us. And you can see the structure here of the bones and the cheeks. How that all comes into a wedge here, All that's built for strength and to withstand impact to a certain degree and noticed too. How that cheek, um we're looking at here and here how all of that kind of bulges out in here. So it's gonna bulge out obviously here, like we talked about and there, but right in there we get that bulge. But at the same time, you know, if we if we look at what's going on here and here, Okay, so there there's our bold right. But when we look at what's going on right and there and there So we're in there and here it actually receives back when it does that. So that win, we are looking or that we have this peripheral vision. All right, so we're able to rotate the eyes or turn the eyes a little bit and see to a certain degree of what's beside us. So if that bone structure were to come out farther, then obviously we would be limited to how far we can see. You know, those are just some things you're gonna want to keep in mind about the I. You know, the main thing I want to bring to your attention is that they received. I mean, they are back in okay, in that socket in that little hole. And then, as I was alluding to earlier, Whenever you're dealing with, we get up a gray here, whenever you're dealing with, let's say a dynamic pose. And this is all of these things where I'm talking about the protrusion here, here and then how things change here. Vestment become very important. That dynamic structure, um, isn't flat. So basically, if I were to, let's say I'll just draw. Ah, quick face here. Say, this is the front. Um, let me do that. Actually, we do that a little bit cleaner, so we'll go with, um like that. Okay, I'll get this little egg shaped for the jaw on the chin. Okay, Now the ice structure. Okay. And there somewhere. Right? So we have the eyebrows, and then we have all of this region. We have these ah rather cheeks. And here and that these are gonna be the cheeks right And then there are always gonna be the widest part of the front of the face right in there. And they come out and they're like this from in between the eyes, we had that keystone shape. Then everything from you know, right right there, that cheek that kind of goes back. All of this kind of sinks back a little bit, except for where, except for where the bridge of that nose starts to come out a little bit. And there, so all of this, we'll go a little bit darker, kind of sinks back in the school a little bit. But now, here's the thing. Whenever the head gets into a more dynamic pose and this, this would be like the sockets, you know, in here. So those would be the sockets. And then you have your no eyeballs in there, probably a little bit too far apart right there. But whenever we get again into a dynamic pose, and I just kind of use this tube idea for now and they say the eyes are up here, some had the nose, the mouth, and the ears will actually be low. So for those of those of you that took part one. You understand that cheeks coming down your chin, all that stuff. All right, so the protrusions that I talked about, they're which again, I'm going to switch colors here. This is our the top of the eye socket. Right? So we're looking at that right there, make that a little bit bigger and that right there, that that's coming out. But it's also rounding and around the face. Okay, so the face isn't isn't flat, You know, it actually rounds like this a little bit, and we can see that right here. How that's coming around. So that song, that eye socket is forming around that sort of shape. And then when we get to the cheeks, which is I'm gonna switch to the green. So I'm looking at this right here, okay? They start to receive back a little bit, so they start to tail off here and go back in this angle, and then So we're looking at that part, and we're looking at this part, right? And then as it comes back around, it pokes out again like that. Okay, So very important to understand that kind of dynamic thing happening when you're working with the eyes because the head is going to be tilted leaning towards Youling leaning away from you. And we're gonna want Teoh. And I can't just sit flat on the face, okay? The eye has to eventually become work and conform to the eye socket. Okay? And remember that eye socket it bulges out here. It bulges out there underneath the cheek. All of that. Then as it gets back as it gets to the sides, it starts to taper down a little bit and goes around that form. Okay, so we're getting this circular feeling, okay? And it's not It's not flat. Okay? So when that whenever you're drawing that shape, you always have to account for that sort of tapering going on in the bulging and all that stuff happening there. All right, so for now, that's all you need to know. A Sfar as this skull view. And now we're going to talk a little bit more about the socket itself. 5. Socket Lecture: All right, so let's talk a little bit about this, I And to do it, I'll do a, um, very stylized version here and kind of staying and line with this box idea, and then we'll kind of branch out. So I'm a center line, maybe in here, so favoring the side little bit because there's a little bit of perspective going on. All right, So the keystone shape between the eyes that was talked about in alluded to would be in here , so coming in, and then we have the nose that coming out down. So what kind of bring it down? I'm here like So, um, now, you know, we need to start figuring out how all of this this eye socket in the eyes kind of fit into the landscape of the skull. And the best way to do that is to use the nose as you're measuring stick. So the knows we have the front of the nose in here being have what's called an often referred to as the wing of the nose. So from a front view, um, well, say, that's your keystone in between the eyes. So eyebrows, eyebrows, eyes the bridge of the nose or the top of the nose with a front. Rather, the nose is here and then on the sides, it wings out. Okay, so we get something like that. So where it meets the face here? If we draw a line straight up like that, that's typically a Preeti Ah, area to use and think about for the I now the eye socket, Um, the eyeball rather. I mean, it doesn't actually start in here or anything. We're actually going to come a little bit out. Okay, so there's a little bit of skin from here to here. Of course, we cannot see it on this side because this the nose is hiding it. But if we were to map that out a little bit better, I'm going to bump this up a little bit. You have the where this keystone comes down in here, let's say and then it goes back. So we go back and to the socket area, and then we come out a little bit right in there. So that's a pretty good starting point for the I. And again we can't see here because it's going to be covered up by the nose now, from here, we can draw the eyes or I should say, the eye sockets. And again, this is stylized. So I'm not going to get if you were in an hour to look at this Even though this tapers n like that, it's actually going to come up. And then the rial starting point probably is gonna be in here. It's a little bit of skin there to there have already coming here. And you are eye socket so I can do something like that. And over on this side, it will be a little bit smaller. We have something like that, Um, so that's going to be our starting point for the eyes. I just kind of make this and blue. Maybe it will stand out a little bit better, So that can be are beginning of understanding how the eye socket relates and meets everything else and to give it a little bit of separation that, say, all of this could be like a front plane. And then all of this can be almost like the list. Say, the kind of underneath I'm here, We're coming underneath there, Okay, but that's a very key alignment there. So the eyebrows would be up in here. And there's a structure that talked about before a little bit with the socket. There's a dynamic makeup, I should say around the socket where we know right in here above the I is very thick Case of that brow ridge, which kind of starts right in here. Um, it was very thick and it comes over okay, And then it comes down the cheek area. Can we go in a little bit? And here and just for the sake of having it, I'm going to put are here in here. Sorry. This is going back towards the ear and we'll say years back in there somewhere. But it comes around, goes in and then back out here and then almost to this little world poor area. And what I'm talking about is this kind of a doughnut that happens. So I'm going to go back to my blue. So what happens is this Say right here that the I ittle start to come around and about where that brow changes direction a little bit. It will start to come down this way. There is a little bit of ah, interesting. Ah, joint or meeting of parts here we have. What's called is this would be your Let's just call it the brow. The I right in there and then. And here you have what's called the Zygomatic Arch. It's a very interesting part of the face where the bones come together, it mush is out, and then it goes back towards the I or towards the ear. I'm back in there anyway, that this kind of doughnut protection system comes around, and then it will start to taper and then kind of fizzle out right in here as it goes towards, um where we started. So it is basically, ah, structure that does exactly what we've talked about so far and that it it's kind of built, is there to protect that I and two, because this is all part of the skull and it gives that I, ah, something to sit in two. And there's actually a little bit of on some feature faces. You can see a little bit of depth in here to kind of a side plane, but that is again built to protect again. It's very thick. It kind of comes around. You all know that almost is kind of whirlpool sort of thing happening. And of course, the eyeball sits back in there nicely. So the eyeball would come down and and it's kind of inside all of that. And on this side, you know, it's not as prominent. We don't have the same perspective as we do over here. But if you look at this curve right here, you're going to see that right there that don't curve and then go around. So we'll come in and then where that zygomatic arch here, they kind of come down and move back this way, and they will come down and kind of move that way. But we'll get right in here, and that's where it would kind of change direction, come out towards the cheek. And then that's gonna be no, this curve and here and moving down. So all of that got a similar structure to it. But again, it's It's a little bit different perspective on on this side and again, the eyebrows are going to start right in here. Uh, some eyebrows will come. We'll kind of invade this cornerstone the keystone, rather a little bit. But typically, though, it'll come up here like this, and then it will start to change direction right in there so you'll start Teoh, see that change in direction right? Is that kind of folds around the that area. So if you were trying to map out the iris and all of that just kind of make it stand out a little bit, we can kind of put that in here. This one is going to be technically a little bit smaller because we're dealing with some perspective on and I can put a little people in there and this one again there's gonna be a little bit smaller and there. So basically, I've turned the eyeballs and all of that into these kind of by folk als. That's kind of how we're how we're looking at it. But that's an important, um, kind of structural information there about the I. And you know, it's so crucial to understand how everything steps back. And then the I is inserted, you know, much deeper into the skull. Then I think a lot of people realize, but I think this lesson will hopefully start to teach you a little bit. Why? It is so why that is what? Why that the eyes are designed that way. And then eventually, you know, you will start to kind of see this and faces. He could just study your own face in the mirror and kind of see how that works. But it always steps back, but you don't want to do. Of course. Is crowd this near the I. So you don't want to get in here, and it's safe. I did this, dude. Another example. Here, there's our sinner. There's a little center of Keystone, their nose coming down. Okay, we're coming back there. Is the wing coming up? So what you don't want to do is getting here and then jam the I towards the nose. Okay, so So it's all got to have space for that dynamic structure. And of course, now you know why. Okay, so we come in here, come back, you don't want to crowded up here to all of that kind of steps back a little bit in the eye socket is in and receiving. End, uh, this space. Okay, We're Saul underneath, and we have to kind of step back to get to it. 6. Placement: Okay, I'm going to draw this skull structure one more time. I do it kind of as quick as I can. You bump this over and I just want to talk a moment about the placement of the I. I'll do a similar layout. Is that okay? So we got in here The eyes cheek, cheek line here. Okay, so this is one side. This is the other. And so, um, this is going to be the brow line in there on this is that little ridge that we've we've talked about. OK, so in there. So right in there that's coming over. That's coming over. You know, this is the front of the forehead. This is also what I considered. Consider that front plane on this will stop in there and remember is going in and it comes out at the for the nose. Remember, this comes back in, and, you know, if you wanted to track the eyebrow, the eyebrow is going to start about in here almost faces and then kind of move over in there. Remember, we want to step backs. We're talking about the placement of the I. So if we this is the where this meets, we can come up, Remember, we have to go back a little bit, and we want to space it out here too. Okay, so this basically comes up and then around now, over And here. So this is the this is that front plane, And this would be the side. So basically your eyebrows, Um, and here, So we're gonna go up, and then they will start to arch down on those faces. That's kind of where this is. That eyebrow comes over, then archers down, and typically you can follow that line, can follow that line over and then down. And that that will oftentimes give you where this point is right there. And then this will start to go back towards Ah, the zygomatic arch and all that stuff. So we got this. So work back, remember? Towards the ear. And then this is basically rain here. Also, where that sheikh, we'll start in the cheek. Basically, if you confined that, uh, angle here, if you're looking at the face from a front view that's going to typically, if we were to draw a circle, that circle would continue around too. Where the route of the noses and then back up the other side. If you're looking for, try this one. So cheeks, it doesn't doesn't get there. It never reaches this point because it will kind of change direction and head down towards the chin and all of that stuff. But that's kind of how it works. At the side of the face was here, this would all be in there. But that's kind of what we're dealing with there so again on this side and be the same things. But remember, because we're dealing with perspective, um, that's going to curve in and right here along this center occur back out. And where that cheekbone is, curb out again and you know, this is gonna be in perspective. But yeah, that would curb down here is well, so again, this is the root of the side of the news here. Good was up. We're gonna step back, so this will come up and then around and right in there I mean, right, and this point, you know, it has to her back with this part of the face, Remember, the face isn't flat. And nor is this the, um the socket. The face is going to curve as it gets to the side. This way. So that socket is curving back. Remember, this is kind of the reason why is because that peripheral vision we want to be able to see towards the side of our head that curves back the bone structure goes back a little bit and then it starts to come back around. Um, when If when the cheeks, the bone structure, the cheeks start to come forward. So again, the, um eyeball is protected in there and here, and then your pupil is back in there like that. So at this point, we can basically tried to come to the conclusion that you know what we're We're using construction to get this intermediate and advanced way of placing the I. And if you look into some of the construction lines we have and we've got the center of the face coming down and here and we've got the frontal plane, then we have the line for the eyebrows. Then we had the center line for the eyes. Then we had this line right below it. Ah, the cheeks. And we know this plane now comes down. It will start to curve and move back and down about where that eyebrow arches. Now, not every eyebrow is gonna arch the same. But generally, this is a good um, please to look for that change, and then the eyebrow will change direction and change plane, um, and move down towards the corner. Um, and then we get that corner comes down. Ah, zygomatic bone structure in here. Moving back towards the ear. Zygomatic arch is actually kind of back in here, but the whole structure is right there. Then that will curve down, pick up again on the cheeks and then start to move down towards the no. So we got our nose here, um, the tip of the nose right in there, and that's the wing of the nose. And here we know that's going to come up. And that's when we come in just a smidge that's going to start this structure of going up and around the eye socket kind of follows has to follow that bend in the face that comes back out a little bit here and then around. Um, we know that eyeball is set back in that structure, and then we know we have that eyeball. And there we know this structure comes down and heads for the nose, and then it meets here. So if we were looking at that front of the face, remember, it's that sort of structure, the center line, the I we contract that over through the other eye so we can come over here and start to please the other I And then we can place that, you know, I eye ball in the air and then the tracking of this one to this one because we're dealing perspective, we can add that idea that it gets a little bit smaller. So So what you don't want to do and what the common mistake is, is start drawing your face. Go. OK, well, there is my top of the head the year, um, Chen and then start just placing these contours and nothing is really connected to anything . So, having a sense of the plains, the structures, um, your arch, that's a nice structure point. And there were goes in knowing that all of this kind of lines up with the center line for the eyes, the bone comes back out here, the cheeks and here, you know, now create that nice circle effect to the root of the nose. You know, there's a zygomatic structure and here and so on. So now you're starting to get a much better sense for how things are mapped out in placed versus, um, guessing and just throwing things in there without any connection without one thing connecting to the next to the next to the next. You know the structure or the kind of the doughnut that don't not feel. And here happens, right? Kind of protecting the I now, and that's all really useful stuff. And now we get to the eye lid and for eyelids. Typically, what happens is we get in your typical almond shape like that, and there's a key difference between the bottom and the top eyelid, because the eyelid no moves up and down, and it kind of opens up slam shot. Ah, and there's more of a range there, and the bottom tends to just kind of stay in place. There's a different function for both for each one. Typically, what you will see is that the character of the upper eyelid, the say, uh, well, tend to kind of go up an arch over the I and then the bottom 1 may track a little bit straight like that. Okay, So that this were the eyelid. And here it made track straight with these construction lines in this case, are construction lines are moving this way. All right, Um, nos and all that stuff in here, so they tend to kind of sag a little bit. Maybe where the meat here and then they'll kind of go along that where the upper eyelid. You may come up in a angle here and then go up. Archie may even be straight and arch down, but there's a key difference in, you know, between each one. You know, you don't want to draw the top in the bottom the same. Okay, that's that's just not the way they look. So if you were adding, um, say a lid here, it may kind of go up and around like that. I think I'll do that and read, even though that's probably not going to stand out now in the bottom, you may just kind of come down a little bit and then come over here, Um, something like that. So what you want to avoid is is this? Ah, and even, um, the idea of keeping the eyelids open like this is a better, um, option sometimes than to close them. So what I mean by that is if you start to close the eyes, the eyes shape like that all the time, then sometimes it doesn't always look, is good and is attractive as kind of near leaving it open and places I'll put a little bread evil eye there like that. So and that's what we're going to kind of shoot for this kind of open sort of eyelid. Open shape shooting for also to avoid the generic, um, symmetry between top and bottom. We want that kind of again. Each islet is different, depending on the view. The face, look it. It could be boxy up top and then sag and be more curvy, the bottom. Um, but in general you'll find that the construction lines will often be the place in the direction of the lower lid where the top lid and it was going to arch in, have a little more shape and movement to it. All right, so the placement of the I hopefully now you start. You're starting to see Ah, that we don't just slap it in their things connect, okay. And where they start to change direction, um are at certain points on the face. Ah, these construction lines, all of that stuff is just key to keeping things visually more appealing. And over time, you know, you worked. You draw faces and eyes and different things, and you may be able to get in here and do things mawr intuitively. And but deep down, you're seeing these connections, um, without actually having to physically draw them. But just having that knowledge is going to keep your features mawr accurate, and that will in turn give you a leg up on drawing Portrait's and the head of the figure. 7. Master's Analysis Eyes Part 1: All right, This is a Raphael going to take a look at this interesting side of you here. Ah, a lot. We can learn. So let's look at first some of the things that we know, we can see this eyebrow coming up and then changing directions and then heading down towards the side of the face there, this would be our I started the eyebrows in here coming over and then changing direction about here and then heading down towards that socket. Okay, so we've got eyebrow socket. That means the that front plane of the skull. Essentially, the forehead is about right here. We've got good about the corner of this. I hear for this next plane, and then we get to the side of the head. So we kind of had this front. Okay, This kind of tapering, this tapering of the side. So I will withdraw that in just a second. And here and then we have the actual side plane. And here so did that in section one of head drawing. But just so you know, if we're looking at this forehead from the front, the eyebrows would be down here center of the face knows we're looking again at a completely complete front view here. So this here would represent this section and then stepping back. Is this okay? That kind of change and planes. So here to here that would kind of wrap down. But have that and then we get to the actual side of the face side of the skull. May not have much of this from a front view, if any, but that would be right in there. That would house, um, all of this and hear the ear back of the skull and all of that stuff. So hopefully were on the same page. So we're starting to map out some of the structure here. We can see switch colors. We can see this construction line kind of here here, underneath, which were not It's getting compressed because of the perspective. Um, So, um, where this is coming down because we're looking over top of this so that curve is coming down, and then that's going to be heading back. And then we have our cheek over here. We're getting this cheek in a slightly different perspective like that. We followed that around that shape, coming under the nose something like that. We've got top of the nose coming down, and here we can follow that back to about right in here. And take that up. And that takes us right into our socket. Coming back around here. It's hidden in the side of this nose is coming out. So because of that, I mean, we could make some destinations, but basically, you can see it coming up and let me actually start with a fresh slate here, so we can not seeing through all my scribbles, but, you know, kind of coming up in here and then getting back into that shape, coming up in here and then getting into that shape. So good stuff there, I think Weaken. See a lot of what we have been discussing in this, but again, I mean, this is a kind of a tricky one. Um, because again, you have that top view. So it was top looking down, and the figure is looking down, and we get that 3/4 view and then to make it leaving More interesting. The figure is actually looking kind of over in this direction of stops. The figure isn't looking straight ahead, but again, the architect of the structure is what's important trying to figure out and place those eyes where they need to go. And another thing, kind of, um, interesting. Here is when we talked about how it comes up and then around, you know, the I kind of joins that way. But when we look at this, I hear and this comes down there is also that continuation into the eye here like that. And then we had that lid there. So there's kind of that theory and that thing can look for so foreheads basically drawing, um, this right there, um, coming down the underneath the brow and then that kind of circles. So this is your brow here, obviously is curving out of our sight there, but I'm kind of coming down and then connecting with that I socket. And obviously it doesn't come all the way. You may have I lived here, or some of that doughnut action is covering it. And then that cheek comes out. But just some things to keep in mind. Let's look at one other thing. This is kind of the law of ellipses. So if I did, it was explained to me this way. I think it's a good way to think about it. If we have an axle here, a car axle, and then we have tyres attached to it. Okay. The tires are perpendicular to the axle. Okay, so these are our tires. This is your other tire on, then? This. That's the axle. And it's important to to understand that. So, for example, if I were to turn that axl into more of a tube, Okay, so I'm gonna come straight out from the edges of that, I would say right here and here, like so And now that access we're talking about, that perpendicular feeling is going to be this way because we've determined the direction of the axle. It's here. So that would be like that. So that means the the lips would fit in there square to that. And so if we took a line right down the middle, that should be a nice looking T right there. So that intersection should be perfectly perpendicular, perfectly perpendicular like that. And then the ellipse. I would like that. So long side alongside. So what you don't want to dio is have that tube coming out and assuming this is not might erred like this in a square. You don't want it to turn in a weird angle like that. Um, so we took that idea mind, and I'm going to now turn my focus. Let's just say, for example, before even do that, let's just pretend that's what's going on. Let's just pretend he's looking straight. So he's not looking off this way when I say he's looking straight out in that case that I that eyeball the pupil would match that shape s so let me get by. I will make my point a little bit smaller. So you may have something that looks like that. If it was on this I and there was looking, he was looking straight. It would look like that. Okay, cause the direction of that is this way. So I drew or added the white, just some white around that socket around the people in the iris. Okay, And that should give you a little bit better visual of what I'm talking about. No. Conversely, that's going to change a little bit, because and that's not really the case we're dealing with here, because here's what's going on. The figure is looking off this way. So what we can dio is draw the angle of our thick axel here, and there's are perfect t that we talked about earlier. So and then there's Ari lips like that. Okay, same thing here. So figure looking this way, it's not gonna be as wide as this one, because it's farther away from us. So again, there's are perpendicular. We can say its like that. So in that case, the I is shape like that mirroring this because I'm talking about that iris and the people because of the direction that the eye is looking So the white around the eye doesn't matter as much because that's just the ball. Remember the people when iris are on top of that, that's on the outside. Okay, so if you were drawing this, um, you wouldn't want to place the dots of the I um, I'll do this and read. I'm going to put a layer over top of it. So this go like this, so I wouldn't want to do that. I like that. Okay, even so you see that? Okay, cause that wouldn't that shape would would be incorrect. It's actually looking, uh, down and in this direction. And that's kind of the law of the lips is that you want to keep in mind. I am very important to take note of that. Um, let's take this away again for a second. We'll bring up one more point. Here are that doughnut idea. So we've got the eye socket. So there's the ridge of the brow and there's underneath so we can see that in here. That ball for the I. So this is coming up the eye socket coming down like that. And then again, we've got that direction this way, and we could see that corner. Here's our corner there, there's a cheek. So there's that protective ridge, that protective Ridge Protective Ridge and the doughnut, that doughnut action around that I and here and in there, And I'm gonna remove that so you kind of start to see a little bit of how that works. 8. Master's Analysis Eyes Part 2: All right. So a whole bine here. I've used this. I'll use this in stage one, um, drawing the human head. So here we are in intermediate and advanced structures, and we're still using it. So let's follow the eyebrows up a new I'm going to work with the structure here, so we're seeing the change here. So in this one, we're seeing mawr of that plane right here. Then we are on this side. So there's that point and at the eyebrows, where starts to change direction and go to that side. So I talked about that in the last video. So that's the front of the skull. We're talking about the forehead. Okay, that's where it starts to step away, and then we go back to the side of the face. All right. Um, so that's a part of that structure Again. We can track the eyebrows that line right in here. If you want, we can come right down through the center of the eyes and here so we can see that nice cheek going on in here. And we can follow that right on down again. If you watch part one drawing the human head, then you've seen this, but I'm going through layer the next bit what we've learned about the eyes. So there's our, um, lovely, uh, center line, the see If I can get it right. That's not too bad. I'm a bump it over. Just they're not do that. Let me continue on Pretend I didn't say anything. So center line coming down. All right, so then we can look, we can track in the bottom of this. Give it that construction line so we can see the bottom of the lids. Now, from that center line, we can start to get this construction. We know the nose is coming towards us a little bit here, we can find the wing of the nose and here find that point where it joins the flesh and come up members steps back just a little bit, just a little bit, but basically comes up and then around that eyeball right in here comes up, step back a little bit, but I'll just merge it. And just so we can have that nice construction nice flow into our eyeball. Okay, Someone take away the picture for a second. Okay, so that's what we're dealing with so tip of the nose up the actual skin, All that that steps back about here. But weaken, Take this line up, and then it kind of take it around that kind of world whole action if you want, if you will, into that eyeball. So I'll bring the lovely art back. So it's all checking out pretty good. Um, we can start to look at some of these lines. I'm going to change colors. Look at that right there. A little bit on this side, too. So that that shape its subtle is it is gives us that feeling off that protective tube going on. Don't not right around that. I if I take the art away or take this away and now start with a new layer because I kind of feel how that is going on through this right in here. That protective doughnut right in there. So if he mapped out the entire thing, if we went back to the, uh, to the eyebrows, we could even take it back farther. We can get the gesture first, you know, and then lay in that, um, egg shaped for the head. We know the ears or back in their hidden from the hair on the cap You draw that construction line over for the eyes, nose, mouth, and then we start to get that intermediate structure going on. Switch to a red when we really start to see all of that structure going into place, coming into action there. And also look at this even like the eyelids. You look how they were not getting a complete almond shaped No, I alluded that in the eye placement lesson. So we know we're not getting a dark line. Sorry, we try again. We're not getting a dark line all the way here and all the way there. Okay, so there is kind of lost and found in the rendering, so it's just something to keep in mind as we move forward, but yeah, I mean, we could even see the no feeling of that eyeball in here following that line a little bit of shaving their a little bit of shading there, too. Yeah, we can really see in the rendering and and some of that finish work where that I'm all that shape is so anyway, again, not a lot there with a straight on view, but even a subtle as this particular vantage point. Is there still a lot we can learn from this view? Let's move on to a branzino. So in this one Ah, much more dynamic view. So we're starting to see the shapes a lot better. Now we can take a get on the right layer here, we can take that center line, come over here to the eyebrow. So you get the eyebrows in the starting here and look at that doughnut action right there. Actually, I mean, move, go back. Look at that right there. Coming around to protect that. I We don't see it as prominent on this side, but you can still see in the shading. And here, how are getting that feeling of the protective nature of the construction of that I. So it's very important to know if we take this up, I could go right on into in the construction and the location of that. This comes up. We could go up in around that one, um, again, eyebrow changing direction here. So there's our front plane of the skull construction lines and here, following all that's tracking Really nice. All that's tracking all that's tracking and, you know, you can really see the fidelity there of all of those marks and how clean everything is, um, again, look at the rendering, other leads. You know, we're not getting close shapes a lot of times, so that's important to see that. But we can see the curve of the lids here around that sh ball like that. It's hard to see that straight on. Like to go back and look at the whole buying. I'm gonna bring that up and show you hard to see that. I mean, subtle, but we don't really see the lovely curve and how a dynamic that eye socket is. Um, but here we can really see it and that feeling that it's going up and over that ball, but your cheeks coming down Look how that all is fitting in place on again. There's I don't not protruding out. So we know once it comes at this point, um, that's where all of this starts to change, Right? So this is coming down coming in, and this is going out back with the cheeks and then owned down, um, kind of tapering as we go. I look it Look at this. All that structure right there that really get shows you how that I steps back in space. So now just mapping out the nose. There's our wing, everything lying up like I talked about before, All of that kind of tracking Somewhat straight. You see, a slight kind of curb up and around that I a little bit on, especially on this side. So look at the shape of these. So this eyes are looking. I'm not sure I got it right that time. Here we go. I mean, change colors. So the eye looking up and there did not change colors. And then that means our access is like that, right? Because you want to stay perpendicular. That means, you know, we're dealing with something like this. All that's holding pretty pretty true to the direction the figure is looking. Okay, so what you're not seeing there, I'll just do another layer. What you're not seeing is an eyeball that's facing us over. People were an iris that are facing us like this. Okay, they're moving that way. So the access is here because the eye is looking there, and it's not straight 9. Master's Analysis Eyes Part 3: all right. Here is a pia's ETA. Lovely profile view too. Study here in the first thing I want to point out, is this lovely staging we have, Right, So you've got the forehead coming down. So then we meet the ridge of the brow right in there, and then from here, it steps back. So we come back in here to the eyelid and the eyelid comes down, and then we go back again to the actual eyeball. So we're dealing with I'm gonna go black here, too, so you can see a little bit better one. So I forehead underneath the eyebrow. So the ridge of the brow there down the eyelid underneath the eyelid and then the eyeball. Okay, so we've got that sort of staging going on before we actually get to the I. So your eyeball and there. So how often is it? We see a forehead, and then all of a sudden, the eyeball is sitting right there, and there's we don't take into account this structure, this doughnut structure, um, of the I, which is basically setting up this kind of swelling and protective area around the Aibel in the socket there. So very important. We take that into account, and the next thing I want to look at would be this kind of examine the eyeball. So we've got the eyeball right in there. You can kind of track the nose up, so that's the wing of the nose where it meets the face. We can't see the point because we're we're in a side view, but it's probably gonna come straight up in here and then wrap around the eyeball like this , and then all of this underneath with the brow of the ridge. Okay, All of that's going to be that swelling that I talked about, OK, that's gonna be the cheek coming down and shooting for underneath the nose. Um, and then so that's gonna be the swelling coming in there. Okay, I'm gonna switch colors, So that's the front of the eyebrow. And here is where changes direction. So for looking at it, this would be the front plane of the forehead. And here this would be that side plane. Okay, that's where stages back here. And this was the center of your face, so that would be underneath the eyebrows and here, So that will be a front view. So your your eyes are going to be sitting in here knows coming down. That would be coming straight up and to John Lennon looking glasses there. So that's this plane right here. And then we've got the actual side of the face there, which is all of this, all of this. And then I am going to change colors yet again. And we got that brow. Richard the brow. They're coming down. Um, now, when we let me go with a go with a yellow Now we look at that structure we have, um that coming down right here would be the zygomatic arch and kind of back in here moving back towards the ear. And then it splits ago. No, goes here, and then it kind of goes up in around there like that, and then we go around that cheek, and if I remove that, you want to see a little bit of that indicated we got the highlight. Um, no. Right in there. Kind of indicates kind of where all that's coming in. And then that highlight their kind of stopped. We get a little subtle indication of how that works. So, anyway, I think a lot to take in there. I think the key point obviously would be the staging the protective staging of one into down three in four and we finally get to the eyeball there just because the eye has turned the head has turned to the side near the eyeball is still going to be round. So we've got the round eyeball and then we've got that little sliver off the iris and people there. So anyway, I think some really good stuff on this one to consider. And even though it's the lighting, is challenging to see some of the features and everything I think we can. Still, there's enough there where we can learn a lot about some of the structure and placement of the I. Even though this is not a drawing, there's still a lot we can learn, despite the color and everything but very loose style. Um, and we don't get a tremendous amount of detail, but let's look at what we do have. So if we come up from the Rooter knows and we get into here and we can see that eyeball structure, the alignment and placement of it right here this side is even better because we were dealing with the shadow. So we're coming up and then going right into the linen glasses there. So that's kind of Ah, a little bit of reinforcement there. And one thing about this one is on this structure right here in between the eyes is really very broad. Um, maybe stylized that way for a reason. But typically, the eyebrows would come in maybe even a little bit more in there. But nevertheless, that's going to be where we would get that little in between ridge upstate, upside down Keystone and then around the eyes. Okay, we can see. Especially over here. That protective doughnut. Okay, here we see it. But it's not as prominent causes mawr and highlights. Okay, so we're dealing mawr with finding there's lighter values and doesn't stick out as much as the shadows. I noticed the cheeks coming down here. Got a nice line shadow line there aiming for this. We don't see it here, but we got that little bit of ah, pinkish shadow. And here's a little bit darker, maybe a subtle indication of where that is. Um, we're dealing with a very round, rounded eyebrows but we can still see that particular plane about right in there. And then we move off into, um, the very side plane over in here. So that's a kind of a nice look at that. Notice how the the rendering of the leads to, um, I kind of see No, it's detailed here, a little bit detail there, but we know we lose it in the shadows a little bit, so we know we're not getting a closed save. We're getting more of, uh, and around eyes are kind of, um, favoring the right side. Then over in here, it's kind of coming like so and then over in here, we're really just dealing with shadow that's coming down and going around that eyeball around the shape of it and then down the face kind of a nice, subtle way, getting a little bit of something in there. But there's a nice open quality in there, and over here course we're getting the shade, and that shade is telling us in a very subtle way, this shape of that I giving us our I'm all. So I think that's about it. That's a good look at the Masters and Hopefully we were able to pinpoint some of the things we've talked about and now it's time for an assignment. 10. Eye Assignment: all right, it is your turn to put these I construction ideas to the test. To do that, there are a series of four minute poses, and I will ask you to do each one and focus on I construction. Think about the eye socket, how the eyeball fits in the eye socket, the spacing underneath the brow ridge and from the inside out, the protective doughnut that goes around the eyes. These are the things that are most important. This is not about rendering beautiful finished I drawings. All right, if you do not finish both eyes in the four minute time period, that's perfectly normal and is perfectly fine. If you need to pause the video and you want to finish both eyes, or at least finished your study before you move on, that's perfectly fine to now. Please be sure to post your work. I will love to see what you're doing. And, of course, when you're done with this assignment, be sure to check out my version of the practice real. It's not that what I did is correct, or what you did is incorrect. Just give you something to compare. You were assignment to and Then, of course, I will talk you through some of the ideas I have as I'm doing each pose. When there are 20 seconds left, you'll hear a notification that sounds like this. That's when you know to start wrapping things up and get ready for the next one. So good luck. Have fun. Learn. Enjoy the process. Now, see you guys in the next video. 11. Robert's Take Eyes Part 1: All right. Welcome to the demo. I'm just going to use a little ink pen for this one. Um, something different and the same exact poses as you. So the idea is to just work on some of those construction ideas to understand the layering that we have going on with the eyes, the socket and all that stuff, the location of the eyes. And I think, you know, I've got the same amount of time, is you And if I have time to elaborate and if I feel like I want to stop pause and focus on one particular thing, then that's what I'll do. So there's no stress or need to try to say, Hey, I want to draw the complete I both eyes and everything, So let's just go ahead and get started and we'll see what happens here. So with the 1st 1 I've got the front view case. I would like to start with some construction lines. So the front of the face that I could get some eyes, um, nose, chin, all that stuff. Now I can get the the center here, even though this particular model has a little bit of ah, crease in here. I can still see that wedge pretty good. And there eyebrows go up and then back up and then back. So that brings me down to the nose. So I get the wing of the nose and here, coming up again, staging it back a little bit and then going for my eyeballs. And here those eyebrows tend to hover. Not sure they're getting pushed down through his expression or what? OK, but we've got something like that. So front of the school side of the skull, God knows. Then again, see stepping back. Okay. And there, make sure it's not too crowded. I can get my lid over the top like so I can see a little wrinkle. And there's well again, I think, furrowing the eyebrows down a little bit and here and then underneath, just maybe a little bit squinted. And then we've got the iris and people in here so pretty much did. Oh, that. So I got my ball in the air up and around that I eyeball again Iris and people and here and kind. Just go underneath it there again. We've got quite a bit of ah tone happening here, which really helps with our construction because we really want to be able to show that swelling of the eye and we can see it here underneath. We can see it here. Underneath. Okay, so we've got this sort of thing happening where the eyebrows come down. Okay, we've got the cheeks nice and wide. Okay, a little bit more on this side. We're seeing less on the right side, coming down and hear all kind of moving towards the bottom of that knows. Okay, like so, the tip of the nose. But again, eyebrows coming out. And we can see a little bit of this indication of a swelling cheat coming down. And then a little bit of shadowing and tone under here to help with that. Those eyes being set back in on the I a little bit. Okay, so 3/4 view here off start with the same same idea. So construction line. Um, I can kind of move this back. So now, getting the eyes saw the construction lines are moving a slightly upward like this. Okay, Like, okay, nose, mouth and all that stuff. So coming back here to the wedge and here, so really coming out, and then here is beautiful. Ah, beautiful example of how that curves around and then back into the eyeball. And the eyeball even doesn't start here. The eyeball is starting back a little bit. So it's coming around and then in and then back around that I like that. And because the eyes are looking off here, they're not looking at us. We're not going to do that. We're going to do this. Okay, so the eyes are looking up out that way again. The wedge on this side coming up, eyeball eyebrows rather coming over and then kind of just fading. So, really, this is the front plane here, and this is the front plane here. And then we get down to the side plane. So staging it out, um, I can bring, you know, the nose down. And here, if I want, figure out where this wing is. So that's our construction line coming up, coming back in, showing a little bit of that cheek in there. Helps. And then that's where I lived. Start and then we can come back and then bring those. Ah, And here somewhere the same thing that's going to wrap up this is beautiful, too, because I can see that lead rapping over. Okay? And then back down. And then even still, you can see this V shape and here, Okay, that sort of thing on this under lid. And even still, that eyeball is back in here very important. And then you're that eyeball, something like that, and we can see the, um right in here. So this is our wedge coming down. We can see that lovely tone, right, Mayor? That shadow. And that's helping to place that I in the socket so we can see all of this happening here and even underneath the eye, Like like that. Okay, so again, back in, around. And then the i eyeball is back in here, protected. And then subtle, is it? Maybe there's our cheek. All right, so now getting Teoh on underneath here, I'm going to do this more of a tube. So I'll go with something like this, and we got a slight angle like this center line, favoring the right hand side a little bit. Okay. So eyebrows, eyes que nos getting pushed up a little bit. Mouth, chin, all that stuff. So the wedge is getting lost a little bit here because of the perspective. So it's not gonna feel as long as here and then our nose is moving out this way a little bit, and then we get to the ball of the nose. So if this is our wing coming in here and then I browse kind of moving straight and then back and over. So we've got side playing there. So on this one, we're heading up and then back around. Okay? So side plain and here, so clearly seeing a lot more of the side plane here. Um, now we can see on this I How that starting to curve around here. And then that whole whole, um, its host doughnut action right in here. It's starting to overlap it. So this forehead is coming down like this, and then this whole doughnut action is coming in front of that. Okay, So our eyeball back in here and then back in here. So on this sort of thing, we can see a nice the depth of this I and the underneath plane really nicely. So if this is our eyebrow, here's our wedge throw. All of this is curving up and over that I You can even exaggerated if you want. And then underneath I like to kind of play it a little more street. Okay, so, um, up and over the I and then a little bit straight, Their eyes are looking slightly over this way. So it's these They're not going to be a perfect circle, like so again, we got the wing of the nose, all that. So the shadows help a little bit, and we can see even highlights. They're coming in. How? They're helping to shape eyes under right here. We're seeing that shadow come down on this side of the nose and even cut across the eyeball here. The main thing is getting them getting them set. You're back in the eyes, so they're not crowding this space, okay? 12. Robert's Take Eyes Part 2: all right. Again underneath, much more extreme. I can almost go with Ah, a curve. Just a ball shaped here sphere. So, eyebrows, I can bring my center line right down like this. So the wedges really getting lost here because of the nose especially. But we can see it. We can see it in here and then before the nose. Now, just do this in a very crude manner. Kind of takes over. All right. So, eyebrows and then curving down, curving around that rounded shape of the skull, coming up and starting in here. And then I balls and there. But again, we've got this curve nature of the eyebrows and then curving again underneath. But here we can see the cheeks start to run this way, and then we can see all of that doughnut action here. So it the cheeks really start to get in front of that and then that no moves back down and to the chin. But the cheeks are definitely coming in front there. So the eyes were looking up. They're so again making sure we're stepping back enough to see it and then taken into account that lovely I'll do the left eye of this, like in this nature curving down and then that cheek moving out like that. And then you're your I It's set in all of that. So, like that. So an interesting perspective and definitely something you want to work with. Some. It's really these challenging perspectives that are going to teach you the most about some of the dynamic curves um, that we deal with and that, you know, the head has and it really does it. Here's ah, you can see that roundness in the face there. All right, So a top view now So I can even box this out if I want, so I can do something like this and then the mask of the face coming down like that. Okay, so we got ta plane here. Construction lines heading, you know, all staying. Very tracking, I should say so. The nose will appear a little bit longer here. And then we got our chin down in here. So the wedge is getting crowded a little bit here and again. We've got the wrinkling happening in here is well and then the tip of the nose coming down and here we have our wedge. And then the thing that's really interesting here is eyebrows were heading out to the edge of the skull or the top of the forehead. And here, So this is protective layer one. Okay, then we step into the eyelids and here and then there, curving in this case around the eyeball. And we can't see the eyeball, especially since we have these lashes and there. But if we could, the eyeball would probably be placed like that because we're looking down at it. And then the protective nature of the next step is this cheek which comes down like this, okay, and moves towards underneath from then on this side again, eyebrows coming out. And then we moved to the side and just flares out. So if we looked at the wing here of the nose coming up again, we don't want to crowd it. We want to come back a little bit and we know those Eyeball that eyeball is probably gonna be in here because again the perspective. So that eyebrow and then this lead going around that I and here. But look how subtle it Maybe. But look at how we get this sort of action going on. And then as it curves down, we can see it here, Okay? And then this cheek coming down in here. So even though the eyes were looking down and all that stuff even in here, we can see how setback the eyes really are. Okay? And we're seeing it right there where we get one to. I lived here curving around, and then the actual eyeball is going to be in here, and we're seeing it on this side too, you know? It's coming down. Eyelid is coming over. And here we got all of this happening, and the eyeball is in there so important stuff to keep in mind. You know, as you move forward, Our last up is we have a profile view. So they're finding my angle like this. Tracking lines pretty much going like this. Okay, so we're not getting much of the right side of the face there, but there is a quite a bit of tracking going on. So if I did my skull like that, uhm, I'm going to switch to a red so you can see it. So this is coming down back in and then out, Okay. Something like that. And then these eyebrows start back in here, okay? And then the actual eyeball is back in here. Okay, So I'm not, so if if the eyebrow ends here, Okay? We don't want to start the eyelids here. Okay, That would rule in the construction. So if we draw a line here, then we know those eyelids come back in there. That's recessed in a little bit. So they would come down back in here and then around that I and then the eyeball itself is even back further, The eyeball itself is back. And there and then we have our underneath or the bottom eyelid and there. So it's important to find that staging. So and then, if you are, too, um, feel out that circle, probably to come back over here. Now, let's say and I lid and here, coming around that eyeball like this underneath and in the eyeball itself in there. And then we can see that protective doughnut action. Right? So that cheek coming off and then heading back towards underneath the nose there or something like that. So, again, it's all about the staging. Um, again, if you start to find yourself where you're doing your eyebrows and you're in a sort of a side view like this. And you have the nose coming out so eyebrow and you start putting your eyelids way over here and then putting your eyeballs there, and that's gonna look a little bit unsatisfying to you. Okay? So, again, you want to make sure. Okay, this is the mask of the face. So we got the forehead coming out a little bit down and then back out NOS lips. Okay, so the tracking is going this way so we can coming here, add the front plane, say side plane, and then give that feeling that the eyeball is pushed back in a little bit. And then that eyelid is coming around it like so And then take the eyeball in even Mawr, like so. And then you'll have much more accurate ah, understanding of what's going on here. And then our cheeks come around and, you know, head out. And of course, this all arches over and all that stuff to you get a little bit of ah, lying there as well. So I lash is coming out on eyeball there. Okay. So again too tight to lined up, then you're not getting this sort of feeling 13. Nose Part 1: Okay, now it was time to look at the nose, and this could be one of the more challenging parts of the face. Because there's a lot of perspective that goes on. Let's go ahead and start with this profile view. So if I start with so the mask of a face, something like that. So you know now. So we have our skull. So, you know, hopefully you took part one of beginning beginning to draw the human head. I've also alluded to this quite a bit in this particular Siri's, too, but basically, I also talked about it in my figure drawing class. But this is the mask of the face, the forehead. It's gonna come out. There's some flesh and things happening there. Okay, Then it's going to go back. Okay, So something good back towards this line, I'm gonna make that a little bit clear. So there's our line right in there. That's the mask. So we come out a little bit, and then we come in towards the eyes, and then we come back out A T knows. Okay, so it's pretty easy to see the perspective of that knows I'm gonna talk about that in a second. So I should say, that comes down to the lips. Ah, that we've got the chin and then on back, and I'll just for the sake of having it here. So we say, that's our ear chin. And then we've got our neck, all that. Okay, so this perspective is what I'm talking about. Okay, so it's kind of going in that direction. So in other words that say, this is our face and you're looking at it flat on. Okay, so we're not in profile anymore. We're just looking straight in the face. Um, you know, the cheeks, the forehead, all of this stuff is flat, the eyes, mouth, but with the nose, the nose is going to be coming. I'm gonna turn it like this. So you see a little bit better, the nose will be coming towards you like this. And that's what we're seeing there that creates a series of potential problems and again from the side. You're not You're not having to deal with that. But any time the fate that any time the nose is inside the face structure could be a subtle 3/4 of you could be a frontal view, it could be the head front, but tilting back and forward. Then that perspective can be a little bit challenging to capture. So basically, when the head is straight on flat, then you're again. You've got this sort of thing where the nose is coming at you like this, so it's foreshortened. Conversely, if the if you're looking at the face straight on and the head is tilted away from you, then what happens is the nose becomes very short. So they're almost sometimes merge or invade that space between the eyes on. Then, if the head is looking down a lot of times, So this is the nose coming towards you when the head is looking down, I in this rotated down. Then the nose will actually look longer, and that's all part of the perspective. So and I guess, in a nutshell, um, even though the nose tracks with the head, so if the head turns a nose turns, if the head tilts, leans whatever, obviously the nose goes with it. But it has its own perspective. You have to take into consideration, so sometimes the nose is even easier from a side view. A profile view like that because it's silhouetted. Ah, where from a front view again, it's more challenging because you're dealing with, ah, situation where the nose is inside and we have to make some decisions on how we want to tackle that sort of perspective. So again, this is the mask of the face coming down and all of this, you know, just bone structure, um, tissue, muscle, etcetera and die gastric plane neck here coming off school. All right, so let's look at the front view now, so I'll just kind of do this. We'll get a little egg shaped happening and I'll start with center line there. And so we have our your brow eyes and here, and I'll make them a little more about. We're more satisfying since we're at the stage. And we know now that there is that little wedge and here in between, and we also know the eyebrows at this point kind of go up a little bit. And then once we hit that kind of side plane will go down. Well, go up and down. So we got this happening. Uh, and then well, the main goal here, when we're working with this is It's always, you know, find the tip of the nose, the end, and then we can just kind of come down and is very crude shape for now, like so. And if we were to take into consideration the what we've learned about the eyes so we know this wedge comes out, we know when we're looking straight on, we could see underneath that knows, a little bit. Okay, where we can see that right there. Okay, because the news is in perspective from this sort of vantage point. Ah, but the wing of the nose, let's say, isn't in here. It's going to come up and anyone here. And so these, um that's when a lineup and then kind of get into that ball, so that will come up here. But remember, there is a little bit of side plane here. There's a little bit of space between here and here. That kind of tells us where this is, and then where this sort of plane is here. So it starts to flatten out and here a little bit. So if we look at the shape, the safe from this wedge down, we can look, we can think about it like this. So if this is our wedge, this is coming down to the tip like that. And then we can just make this very kind of beveled shape like this. Maybe that's the top. And that's more or less what were after us. That's a very simplified construction idea if we start to include that little wedge when you were on top of the wedge. So if the head that's flat to the nose is like this in perspective is coming towards you. So now the head is tilting down. Case you're getting mawr of ah, long view of that knows. So this may feel tapered a little bit, so it's not gonna be as broad as this. And then that knows, often times well, look long and that way. And so the wing of the nose we can really start to see more prominently the wing of that knows. And then we'll also see how this goes kind of back towards the middle construction line. Okay, so that's maybe something like this where kind of comes up and so you'll see this sort of shape more prominently, as that knows, turns down because you're your own top of the nose. Where is, um you know, from a view like this, obviously we can see that underneath plane ever so slightly. Of course, as the head tilts back like that. So I'll say she's call that the top. So looking over that. So as a head tilts back Ah, you're going to start to notice. Ah, let's say this is our eye line, you know, in here, then that the wedge that knows which is right in there, uh, you'll really start to feel and see that sort of structure. And of course, we know you don't have your nostrils and everything like that, and then your eyes, and that would be moving back. That would be maybe the wedge here, Um, this is all moving back in perspective, and then your eyes would be in there. So all of this that shape you're now underneath it. So I'll put that red. I won't add any details right now. So again, moving back and then this is kind of flaring out, and all of this would be no underneath underneath the eyes in here, and that's a very exaggerated view, but that's kind of how we want to start to feel this. Ah, very dynamic shape of the nose, the volume of it. All right, so let me finish. Just kind of rendering this out a little bit. So you have have our mouth area and here. All right, Chen, we know our ears. Ernie. Here, we've got get our cheekbones, which we know are nice and wide and in here, we know that's going to go right down in that area. A mouth. All right. So, um, man, you get this year, and they're just just so have it. We know we have a little more skull back there. Really? Cheeks come down. Kind of come to this area. All right, so the tip of the nose, Okay, this is kind of break that down a little bit more. If you were, um, drawn that, um, kind of cartoon character thing. A lot of times, you would see it like that. And then sometimes you even see the nostrils like this. But obviously, you know, it doesn't quite work that way. We want to articulate that a little bit better. Um, so basically what you want to do, Um, I'm gonna make this. No, it was a little more prominence. We see that underneath plane for a second. So basically, what you want to do here is think about this. No shape coming down. And then there's almost this little ball, all right? Like this. But when we talk about the tip of the nose, it can't just be here because the tip of the nose is actually a little bit of side structure to so it kind of it's kind of like this sort of thing where you have the front and then you have the side and, um and then he had these wings that go off the side. Case of the wings will come out like this then, though there flare out like that. So the tip of the nose, this this part right in there? Well, actually, cover up these wings a little bit. So, um, if I were to take that idea of a ball, okay, and we make that more dynamic and we make that more of a structure, OK, so we kind of come down maybe a little bit flatter here for now, out and then back up, and then maybe a little bit wider in this area, so that shape. Maybe a little little shorter here, like that coming up coming up and then longer there. So comparing that to that and then the again these wings coming down and the nostrils will go up and then kind of back in like that. And then you have this other structure that joins right here, and I know I'm getting ahead of myself, but I think it's important to understand it. And that's the barrel of the mouth to the barrel of the mouth. Kind of comes out right here, all of this structure. And then we we join in here to the mouth. And of course, we had this Ah, little separation there between the nose and the lips here. So that's ah, good way to that kind of box it out. And and it's kind of the start of really understanding Ah, the planes and the different structure. So again, ah, here this point will be coming down in there, so that would be coming up and then back and over down to the tip and then those wings starting and then connecting and there, so to make that a little bit clearer, I just want to add a kind of across contour line. So you would see this come over and then it would go down and back and then over again, and then down and back and then over again, down and back, over down and back over. So you had that sort of shape thinking about, you know, to deal with with with the nose so very complex and then again, the actual nasal cavity. So where the nostrils and all this go in is a little bit of, ah, hole. We can see it right here. That kind of goes back into the skull there. And then again, all of this comes over and in front of the nose so that that the wings of the nose were kind of curling back then underneath the barrel of the mouth is coming forward and out like that. So again, you would think something like this, right? So you would think about this, Were the tip of the nose. Okay, that's the bottom. Moving up and out, then back in, and then maybe across the broad side of the nose, there the top. So something like that I'm just trying to make this a little bit clear for you. So this is kind of coming down and this is curling up and back in, and then that's where the mouth is coming out. And then we know all of this is heading up. So if I were to grab my red pen so wing of the nose down, Okay, that's where this comes in. And then this overlaps and comes over down, tip out, back up and a little bit, usually a little more broad right through there. So with same thing on this side coming down and then back around and then the barrel of the mouth coming out like this If you were to go in and then add those little nasal cavities there and then to complete it, you would see again these coming over. So coming over back, stepping back in here, which we can't see because it's a front view and over again, back and over again. So that's staging Going on is very important. So hopefully I did it again just to give you a really clear idea of what we're dealing with there. And hopefully that ah, that gives you enough. And now we cannot move forward to the next thing 14. Nose Part 2: so, like a top view. So basically, if you're looking down on the figure ah, that may just do some construction lines. I've got my green marker here, so we'll see eyebrows. And here our do my center line, something like that. So we've got the wedge and the wedge will be foreshortened. Okay, Because again, you're looking down on top of the figure nos coming out a little bit like that. That may even meet too much so we could do something like this. And you're the wing in here coming up. We got a little bit of space. They're coming up into that eye socket, and because we're looking down on it, um, the eyelids will probably track with that perspective a little bit. So your eyes here people's something like this, and your eyebrows were probably kind of maybe come up in here. It's not gonna be is noticeable cause you're on top of it and then maybe start tracking down over here. But it's this, um again for shortened a little bit, eyes or eyebrows. Ah, lids tracking with construction lines knows coming down. And it's this sort of shape they're going to start to notice a little bit Mawr that wedge with this sort of perspective. And again, if you're looking down on it too, Um, the money didn't The knows may appear a little bit longer, but the tip is not gonna be just in here. The tip will actually, I think be over in here too. Okay, so it's gonna go like that. So it's going to come around the side tip up, and then across here and then again, this will go up underneath all of that. And it's just kind of do some cross contours real quick. So coming, let's say over on here now we're step up in out case. He had that sort of staging going on. And then, of course, we'll be stepping back on the other side there happening and just acknowledging that sort of perspective and understanding of it. It would be important. Ah, And then also, you can look at a view where you're underneath it, the model a little bit, So let's just take a profile So would do something like this. I'll move that down a little bit. Okay, So we had the mask of the face coming down and then on the side. You know, they have this. So this just kind of map out. Okay, so you kind of see the skull. So coming down underneath the eyebrow, and then we have the nose coming out and the tracking of everything. So let's say the the eyes are moving like this, Chen. So everything is kind of tracking the same. So underneath the nose, you'll get a little bit of this and you'll see that side, and then you'll see this side, which will come out here and then underneath the nose, we had the mouth coming out the barrel of the mouth, moving out in and then underneath the chin. Same thing. So underneath the chin, you have that sort of feeling going on. So I'll shave that in lightly, so we start to see that That and then for the eyes, we have this that notch barrel notch idea. So if you took part one, you know what I'm talking about. So this is our barrel, something like that. And we're looking we're looking under the barrel, so this do another ring and here so this line would track. And we're talking about Let's say, like a whistle notch that long would track and then come underneath. So I'm tracking all of that to here, and then this would come up the whistle notch, and then it will come up and over and then maybe down like that. But this tracks like that. That's kind of what we're dealing with, Um, for the eyeball here, the eye socket. So this is basically if this is our our ah, eyebrow. So eyebrow line, we know that there it is, so we can put a tracking line in like this. All right, so we have our whistle notch idea. So this is basically, um, coming up like that, and then you tucking under and then this cheek, they'll come down on the side, A plane like this, then this would essentially come over and then move down. So you're not if this is your coming up eyebrows down underneath and then we get into your eyes. So that would just say that's your eye lid moving back. And then your actual eyes were back in there like that. So this would be eyebrow coming down, cheek moving forward, moving down towards all of this. So that's Ah, this sort of idea but the whistle notch, right, eyes tucked in there, the wing of the nose would be, you know, up in here somewhere. And then, you know, you would have that tip of the nose. You would see the tip on this side. And here, then, also, you would you would see it on. You know that side as well. So all of this in there now, the nostril. What you don't want to do in a case like this. So let's say this is your nose is put the nostril right there. Okay? Typically, what happens when you do that is that puts the nostril on the edge of the nose when really here. The nostrils are are inside that shape. So basically, if you I do that again, so that's underneath. Let's say barrel of the mouth coming out. So this is the underneath plane of the nose, and here that would be our wing of the nose in the tip tip of the nose. I'm here. So the nostrils he would have won over and there inside the form. And then we never hear again inside the form. So you're not placing it right on the edge. Lastly, We'll just look at him or extreme Take on that underneath of you. And to do that, let's do some construction lines. So would do something like this. Okay, so let's say, for example, this is our brow line in here. So when you're dealing with that and out itself at a center line here, so I have it, you know where it's at. So there's underneath. Okay, That would be this right here. And you will see the curb of all of this structure in the eyes. In there, you see something like that and a good And I'm talking really about understanding the placement of the nose, the shape of the nose, so kind of getting back this thing we're dealing with the tip kind of being not just the front of the nose, but kind of this feeling. The it's got a little bit of the tip in the side, so it's kind of coming in there. But basically, if you if you have something that is an extreme view like this, eh? So what you want to do is try to find a place. The eyes I placement will help out tremendously here. Ah, And what once you get the eye placement. Okay, Let's say so. We'll say I'm gonna make this darker Now. Started light. Just just a Have some sketch lines here. So, um, browse again. This is our construction line there, underneath the eyes here. Like that. Um, maybe it's too wide and then we don't know. It's hard to tell how much of that knows we see sometimes. So what I do want once I get the the the eyes placed like this on and you'll see like a little ridge. And here we're that kind of cavity in there. Underneath. Anyway, whenever you get the eyes placed, I go to the tip of the nose and I want to determine where the tip of that news is. So if I see, do the tip of the nose. Maybe right here. So lining up with the say the bottom, something like that. Second, almost envision this Rudolph nose is very round nose and then come in here and chisel it a little bit better. So we know that we start out with that sort of ball. Feeling comes down a little bit thinner and here's a little bit wider there. Like we talked about before, and then we can really see the wing of the nose here so the wing of the nose is gonna follow. So just use your construction lines. I'm gonna use my my light gray here and then the same. My construction line is like this. Then I know we can really see in those cavities like that. And then these kind of come off like wings on a plane coming off like this. So you end up, you know, seeing up into the nostril, obviously. Ah, lot more. So that's you'll generally see a little overlapping there because this is joining, and that's in front. He had that really see that that side playing there, and then this comes off in an angle in an angle and then back. And then this is where, underneath all of this is where you'll see, um, that mouth start to take over. So underneath the barrel of the mouth like that. So you know a lot to take in. But this is what I was talking about right there, so you'll see that kind of come out and they're the next point. I want Oh, to make there is you Just make sure when you're drawing underneath like that. Now you don't do the tip of the nose. So all kind of put it in quickly here like that, and then take the the wings here and come straight like this. They make sure you tape room back like so so that you're getting that sort of wedge. She All right. So I think at this point, we've covered a lot of info. Um, some of this may be a little vague, even at this point about think once we start to look at that, some of the masters examined. Some of those drawings will take some of these ideas and see how they used them. Then things will start to connect a little bit better. So if you're uncertain, confused or whatever at this point, just relax. And this take the next level, which again will be taking some masters, applying some of these ideas. And then, of course, we still have some demos and some UN assignment to dio 15. Masters Analysis Nose Part 1: all right, This should look familiar to you. I always like to use this when I think it's a great example. Even though it's very subtle, we always seem to find the construction lines. So let's look at that. So we know, um, a little bit about the nose now, So we know if we were starting from up top here, we've got our little wedge. Even though this particular piece is very subtle, we can see the the shading of the tone that's used up underneath the eyes and then on the sides here. And then we see that even comes down into this area. So the lighting is very soft here. But we have enough information there. We can make everything out if we follow that down. They were bowled out a little bit here. Okay, so right in there and then comes down and then we get to the tip. So if we were to make that crude shape coming down here, and we can get to the ball of the nose So the ball of the nose Okay, we've got something like that. And then it goes underneath the bottom plane to remember from the side that news comes out down, um, so that underneath planes that ball the noses in here, and then we give that underneath plane. So we're getting a little bit of that there. So we got this sort of shape going on. We can see that little bit of shading right in there. So I'm going to remove this. Actually, what I will do is bum back that transparency for a second. So look, pay attention to this, right? And here on the left side of the nostril as I bring the opacity back, um, going to notice that the shaving and the way used the shading indicate a lot of that. So if I take that away now, we can see that a little bit. So bring him back my pen. So again, the tip of the nose in here coming out top is about right in there. And then we've got this side. We can see that plane very subtle on that side. We can see that, um, that right in there of the tip of that news so removed that one more time. So right in there and then we've got the wing. Okay, So our cross section is coming around down around and then down and then out. So down around back and then out and we can see a very good usage. Uh, the you see that, um, barrel of the mouth kind of coming out, and they're a little bit, so I'll break. Take that away. Slight change in tone. Um, could see slight change in tone there and how it separates the side from the tip. And we can see the thickness of all of that. Someone go ahead and go to a new layer. We look at the space between the nostril and that little tip of skin there. So it's coming down underneath, and then it's curling under, and we're seeing that thickness of that so that nostril doesn't go right to the edge because it was a little bit of skin there. Um and then we could see a little bit of that filter. Um, in there. Okay. That little cleft div it feeling again, the barrel of the mouth starting to come out and here. So subtle, but definitely something to take away from this piece here in terms of what we've been learning. And now we'll go to something a little different. So the P is out of here, and I am going to take something a little bit lighter in value here, and I want to bring out this nose so I'll just add a little bit of, ah, lighter tone in here. There's our little wedge right in here and now what I want to talk about is the the layering effect. So basically, we have a lighter value of the nose, which I added manually. But it's it's there, and I'm gonna remove this and show you. And then we've got the darker value and I'll grab something slightly darker of the I. I led and then here, and there is even a little subtle shading in here underneath the eye. And here we can see a little bit of ah, that going on. And then we get back to the light value on the cheek. So this is catching some highlight here, and it's coming in front. So what's happening here is you've got a staging effect of you have basically three layers , so you've got the nose, which is one, and that's in the background that say, and then we've got the I eye socket. All of this whole unit here and front of in front. Ah, the nose. And they don't top of that. We've got the cheeks which are in front of the eyes. Okay, so it's layering. So where we've got this idea of going One, 23 Okay. And it's important to to understand how that IHS because things aren't flat, you know, the face isn't flat. The paper were drawing on is flat. It is very difficult to two off to sometimes get that sort of depth in a face or in anything for that matter. But if you just look at the subtle way that all of this was used and here to indicate that settles it may be of what's in front of what So this is behind right and then get this little highlight rate there of that cheek being here. So that's something to keep in mind. As you work with this is understanding the layering what's in front of what and then trying in any way on that you to the best of your ability, knowledge and what you know to to bring that out to bring that forward. I just want to point out underneath the plane. So the nose we've got that tip of the nose. And here I like how it gets. We get a lost edge right there in the nose. We've got a highlight right here. Highlight. Then this becomes very subtle. Um, underneath the plane of that knows we can see that shading. And then look where that nostril placement is. Okay, so it's and that plane. Okay, so if this was underneath the nose, came were looking directly underneath it here. So we got the ball of the knows all of that going on. So that stage is back. And we know now those nostrils are back in here, right? And we want to make sure they're not hovering on the side like that. So just kind of something to point out there. And I think for this one, that's pretty good on this move onto the next one 16. Masters Analysis Nose Part 2: a Raphael here and course. Wanna stay on point with the nose. So looking at the connection to the eyes and here and then we can see that the shading of this indicate that the light is coming in from here. So the tip, the front of that nose down in here is in shit and shadow. And they were seeing the ball, the tip of the nose really nice on this one. And we could even see the barrel of the mouth right here as it comes underneath and then down and we can see the filter. Um, coming down right in here and then on this side, it's coming down, but we've got something like that. I know that's part of the mouth, but it's also part of the nose, too. So we have to understand how things connect. So we've got a subtle shadow, right? And here and then it comes around that shape. Noticed how delicately that is shaded. I'm going to remove that for one second now that you see it. So look again, right? And here, as you see that shading and in the nostrils here. Okay, so that was a nice soft touch done very well there. I'll remove it so you could see that the nostril was underneath the plane. And then there's a nice value or tone there here that shows the underneath plane of that knows as well. And then we can see how the the wing comes out. So if I were to take a different color here, So we've got this ball over this plane here, and then it steps back here, and then it comes out here and then it steps back, and then we're coming out here. So that's the design and how we want to think about it a little bit. So whenever you're looking at shadow patterns, whenever you're looking at patterns in general, I always tried to take note of the plains and how they work like that. So that's, um, you know, something useful we can take away from this piece here and let's get on to another one. So now with this one, we got a little bit, um, Mawr shadow going on light source very similar to what we had. And we can see a lot of the things we talked about here. So underneath again the barrel of the mouth coming in, connecting again. We've got the wedge, everything tracking, you know, from here to here, Here, to here, here to here. And see that ball. Of course, we can see underneath the nose these highlights right in here. Very subtle. But they give us that indication of the shape of that knows I'll take that away. And when we look for all that shading around here, we're seeing that and a very, very subtle highlight writing in this area, I don't remove that seek and see it. And then we've got a subtle tone change in here. So highlight. And then we're seeing a little bit of shading right underneath here, here and then the nostril is actually back and the underneath plane, some going to take that away. You can see that because the head is tilted up a little bit. We can see underneath a little bit more, but it's getting pushed towards the face. So there's only is that a ton of distance from here to here? But there's enough. But when the head tilts up like that, it's going to know. Make some for shortening their with the nose. All right. A Norman Rockwell zoomed in. And I love this example because, well, it's wonderful art, but also, we're getting some good variety here for what we just talked about in the nose s so we can look at this figure right here and I'll go to bright yellow. We can see that. Ah, that that shape I'm talking about. So we go out, I'm just gonna color around it and and then out conceit on this side too. So we're seeing that connect and then flair out, come back around and then we get to that ball, the nose right in here, that shape coming down out here so more narrow here, more broad in that area. So if I take that away, you start to see a little bit of that. A lot of that's indicated with shading and highlights. And we can see the shading on this side. Excuse me as it comes around, and it just comes right across there and we can see the side as it right in there. We get a core shadow on the moving down and then back out on that plane and then back down and across the face. Got a nice shot of how that barrel of the mouth comes up comes in front here, and then this all kind of goes behind it and then back in front to our little cleft there. So the shading you can see underneath the playing there underneath with the highlights right above it. We're getting that nice wedge. That's where the shape the next thing I want to point out, is gonna backpedal here. Um, placement. So when we look at, um, we go to the up here to the tip of the nose in here and then the root of the knows where meats. And here so and then we we've got Since we're looking underneath, we're getting a nice shot of this wedge between the eyes. So that looks elongated there. But as far as the tip of the front part of the nodes, that's about it right in there. So if I color that and read, so that's the front of the nose. That's all we're seeing pretty much. And then we get to our wedge and then we ought. Then we get to the tip and the three parts of the tip and here, but the proximity, you know how close that noses to the eyes. Okay, that distance from here to hear when the head is lifted up like that, we can't see underneath the chin because the figure is singing. So what kind of some interesting stuff there and we could go across here. Um, we got this figure looking down. We can see the top of the school there. But even though the figures looking down, we can see that shape to this sort of almost diamond shape coming across and on the tip of the nose and then kind of rounding out. And here we can see that side plane and then that wing coming off here, Um course we can see the front of the news as well, and then underneath our little wedges in shadow here. And then, of course, that strong shadow on the right over there is really selling the shape of that knows. And the tip hall really giving us the shape. And then we've got this coming over here in the MMA shadow underneath. That's giving us all of that wedge shape. So if I would just remove the image for a second, I'll bring that back in. You can see on the right hand side here barrel that mouth coming down and they're on the shadow. I don't see maybe a little bit. And here, but not not not, not as much. So the figure in the middle. It's a nice all most of us, a 3/4 view. But we can see that nice little tip on the left hand side there. And I'm going to remove my marks. See here and let me turn that off. Turn that off. There we go. We're back to a clean slate, but the figures looking up. So on this one, we can see a little more underneath that plane, I would go with Maury yellow here. So underneath the dye gastric plane, that's all Di gastric plane in there. And we've got the angle tracking of a chin, the mouth, the nose, eyes, eyebrow, even that forehead with has a little bit of us almost the chevron happening in there, all kind of tracking along, but tip of the nose coming out, we can see how this is extending down towards the mouth. And then I'm going to remove that again so we can see a little bit of that in action there , but not a strong light underneath the plane there. But there's enough. So we've got the highlight right in here. And then that's backed up with some nice little shade in there. And so that tells us where the underneath plane is. And then we've got a nice dark tone for the nostril there. So the cavity going in you see that Chevron shaped or the wedge under? I hear the forehead and we can see a sliver slipper of the front of that. No. So that Chevron that I'm sorry, that shape of the wedge coming down and then we can see a very small part of that front plane there again, that's all tracking this way. And that's probably a little bit too long. So I'm going to take that up a little bit. We got a little bit of that front plane here and here, and then it turns into we can see the tip of that knows, coming around like so. And then we've got that wedge that this the wings coming down and joining so underneath. We're getting a little tip right in there. And then, of course, that nostril getting placed underneath so be ideas. We get this top plane we stepped back and then into underneath the eye and here on the very tip of the nose that's coming out coming down rather or across back on, then probably across just a little bit mawr for that tip and then down and out. So some good stuff there were to look at our last figure. We can really see the placement of the nose. I won't go into too much here, but we can see that nice tip of the nose underneath. But look at the distance from here. The bottom of the news to the eyes and how the rest of these, especially this one, this one change that to a yellow. So the distance from here to the eyes, Okay, from the tip of the nose to the eyes, tip of the nose to the eyes. And then we've got here tip of the nose to the eyes. How that such a strong indicator into the tilt of the head and this one's could have even been a little bit longer in there. Right? But who am I to correct? No. One rock ball? The guy was Ah, Master So I also noticed too, how the ears dropped down. So on this figure right here on the left, those ears dropped down when that head tilted up him back. Okay, so noticed the distance. The years are gonna drop down. I'm just like when the head is tilted down on this figure right here, they tend to go up a little bit, So anyway, that's that. 17. Nose Assignment: Hello. Welcome to the assignment and this one. You're still doing four minute poses, but the focus will be on the nose. Think about those intermediate and advanced construction ideas for the nose. And if you have time to join them to the eyes and things like that, then feel free to do so. Obviously, if you need more time, you can always stop the video. Taken much time as you need now. I don't recommend that you do this exercise just once. Do it a Siris of times, and then when you're done, be sure to check out my take on this assignment. When there are 20 seconds left, you'll hear a notification that sounds like this. That's when you know to start wrapping things up and get ready for the next one. So good luck with this assignment, and I look forward to seeing what you do 18. Robert's Take Nose Assignment Reel: All right, welcome to the demo, or I should say assignment. And I am working with the same exact images as you, as always. And the goal is to focus on that knows, construction, using the same four minutes time slot as you for each one. And if I get a chance to elaborate on it or even connected to the eyes and the different areas that we have discussed, then I will do that as well. All right, so using again a ballpoint pen here and let's go ahead and get started. All right? So, as always, you know, I like to make sure things are connected. Uh, so there's no better way to do that than to add a few construction lines. So there is my kind of the head in there. So we've got the nose and here, So here. We can see. Um, I'll start right up in here, so very narrow, um, in this area. But it looks that way because we know we have that wrinkle I'm going on. And here. So the bridge that knows comes down, obviously. No, we've got a little bit of ah, swelling out. And here so that she is kind of getting a little more of the character of that, and then we get into the ball or the tip of the nose so you can see I started out with the ball because that's what I see when I look at this and then I can get in here and construct it with some or rigid or straight more boxy. If I probably should have said construction lines. All right, now so I've got that going on. Then I can see the wing and here eso we got the nostrils tucked back up in the air, these air coming around and this is heading up like so And here we're getting a little bit of that ball shape as well in the back. But we're seeing what what's important is we kind of see that sort of shape going on in the nostrils. So what we're not seeing is ah, ball, and that's connected to a ball that's connected to a ball. Um, it's Mawr flaring up like that. Okay, so now I'm bringing that up here towards the eyes and again we can see a little bit of that under plane. So this nostril, uh, curving up in around like that. So we are getting a little bit. So the ball is coming down in front here, and then we're getting a little bit of that under plane in the back of the shadows. Help! So the shadows were giving us a little more of the character of the nose. And, of course, we can follow our construction lines up. We've got the arching eyebrow here, coming from deep within the space and then arching over so again, ball coming down and front, which we can see like. So So the key here is Don't line everything up like that. Okay, that would be a mistake. You want to get that feeling that the tip of that knows here is in front of the wing, so that's coming in front like that. All right, so this one, we're heading down a little bit sore on top, so I can kind of get this angle of the face here down the middle, and then I can get my construction lines where the eyebrows eyes and then coming down to the nose, we can see. Ah, I'll start right up in here cause this is where our how are exactly how I like to attach things. Um, obviously with a view like this 3/4 but also has the nose inside the face. So we're coming down here, and we're starting to see that flaring out. And here. So the tip of the nose is in here heading down towards the center line. Okay. And then we have our little indentation there. And then over here, we've got the tip circling up and coming down in here, and then we're moving out to the side, the wing on this side, and then okay, and then we're seeing that roundness here and then the not roll up in there on. So this meets the know that meets the mouth right here. And then the barrel of that mouth is going to come out here and then and here, coming out, coming up. So on this side, obviously, that's all the tip of the nose. We're getting a little glimpse of that wedge and that wing as it goes out here, we're getting a little bit of ah, wrinkling, right. Got kind of scrunched up with the expression, so that's circling down in the nostrils. Back up in there. So we kind of see this construction line going up kind of tapering in a little bit and then going right up into the eye sockets. So I have a little bit of, ah time here, So I'll bring this construction lineup and then around into the eyeball. So again, front of the nose, side of the nose and then out. We want that little bit of cheek that flesh right there, as I've talked about many times before. And then the leads heart down over the I getting a small glimpse of this one here something the main take away here is really to find that underneath, playing find the tip of that knows and then work out from there and then see how that connects to the rest of it. So underneath and they're all right. So now we're getting into where the nose is starting to go on the outside of the figure, so I can kind of start with my center line here. I can see a little sliver of the right side. So my construction lines horizontal lines are like this. I have my eyes and then coming down to my nose and then mouth and then finally our chin. So coming in here. Okay, we're really seeing this Come out. And then we're seeing that kind of circle down here, and then the lids. And then there are eyeball is hidden beneath that knows behind that knows it's a case of his nose is coming out here. And then we're getting to the tip of that. No. So I can start with a ball like that, Then it comes down. We're going up and over. Then it circles underneath. Okay, so this is all the underneath plane and as it meets the face back in here, So we get to the little did it there and the we're starts to meet the lips, and then we can see the nostril move up and back in here, and then we can see that wing and there and then move sharply back to here. So that tip is coming down and enjoining right in here. Okay? All of this is curling up and stopping. And then the mouth is kind of coming out and there, and we can see a little bit of that other side of that barrel of the mouth and here and then we're getting a little bit of the cheek in here. All right, so if I wanted to articulate that a little bit more, we've got a little bit of, ah, bump there and then out towards the nose, and then we start to move around that ball. Okay, so the front plane of that noses in here, and then we kind of moved to the side plane here, and then we could take this construction line right on up, and then we get to the inside of that news again, Eyeball. And here, um, we don't want to crowd this space too much. Want to make sure these eyebrows come out like so? And then our eyebrow moves over. You can see it come up right here. We're getting that staging a little bit. So more of ah oval here. So anyway, so out of time in there. So I just kind of leave it at that. So on good side here. So again, starting with a mask of the face construction lines moving up a little bit ever so slightly , and now we can see a little bit this right side. Okay, so this left side I'm sorry. So this is our eyebrow. Okay, this is going to be the wedge here in between, but the nose, it's kind of coming up. So the nose is coming up and then kind of taking over like that, and then the nose comes out, okay? Something like that. And then we get to the tip. Good. Like so. And then that tip joins underneath about right here. And, of course, we can see that under plane, and that comes down and here and then back up, like, so we can come up and okay, come up and then we can start to see that other eyebrow back in here. So is coming over and then down. Okay, we got over downs. We know that's the front plane. Side plane. So underneath all of that and then this I lead circling down. So let's get to this here. So this side of nose is circling on the other side of the face, but it's kind of joining here, and then the lip is coming out. Okay, so we have something like this going on with that lips coming down in here again. We got the wing we got underneath and here, and notice that nostril is inside. Okay, inside that underneath plane and then the course. This little bit of tone here helps us out. And we can't really see what's going on with the eyes there because everything is shut down . So now I can, um, work on the tip of this, knows a little bit. So that comes like this and box it out now and then we come up a little bit of, ah ridge their bridge and out so can see in the curve that ball here. So I think the main take away here is to make sure you find the, you know, the angles air important. So find the angle of the nose angle of the nose, find that main construction line angle and then work off of that. Once you find that underneath, that's going to help show everything else. Put everything in perspective. So now, looking down here. So we've got the top of the skull. So we got the senator line moving this way. Um, eyes moving off this way, looking down on top of the head, though. So the nose everything gets the features get crowded a little bit here, but we can see everything pretty clearly. Everything that we need anyway. So getting this connection here, then I can find the angle of the nose are coming down. And here ah, very squared off. So the nature of this one, um, is very square and boxy, and we can see how that moves back here. And then that knows, kind of takes over and here. So on this side, we can see a little bit. There's ridge ing up underneath and then a little bit of this coming out from underneath here. And then, of course, we can see the barrel, that mouth moving out this way and then moving out that way. Okay, so, uh, construction lines are moving up and here and then if we get to the browse, they're kind of going to be shaped this way and then tapering back this way so the eyeball would roughly be in here. But because of the angle, we're not going to see much of what's happening there. But we could look at the other Indyk indicators here. We can see this happening. Um, moving around the eye right in here. We can see the around this year, so there's eyebrows moving up him away. So a little bit of Ah, nice sharp corner right there in that nose. We can see how that kind of comes down, like so clearing out and underneath we can see a little bit or the divide there for the lip . And there there are other I again closed, so we're not really getting much of that. But we can see that nice forehead, as I mentioned before coming out and then staging in for the I lead and then our cheeks coming down. Okay, we got all that moving back towards the ear, so all right, so moving on here, um, so underneath now and again, finding the center line through the face knowing that that head is moving away from us. So all of these construction lines could be curving like this. So eyebrows, eyes, and then the nose is going to be just the tip of the nose is right in here than the root of the nose is right here. So let's start with the ball. So if this is the tip of the nose, so you see forehead, eyes, eyes. Okay, so this is the tip of the nose and This is where it meets here. Um, so I want to do something like this, and then I can map it out a little bit, so it's going to curve here and then go back up in front and then around, like so here. We can really see those wings. So if we look at ah, how this is joining, you see, there's wings coming down like this coming underneath. So then there's nostrils as you can see their way up in there. Okay. And then we have a mustache. But that mouth, the root of that mouth in that barrel, I should say, coming down and they're on this side. We can't see quite a ZMA Uchuari. Okay, it's not as prominent, but we can still see the nostrils or on the under plane. Very important to get the nostrils underneath and not on the edge. And then we got a little bit of depth here, and then that just moves straight up. And then we've got the tip of the nose coming around and then moving back. And here we're seeing the little curve there of the joining of the underneath and top plane . Okay, then we get to our eyebrows and then curving down, curving around and down. So the shaving helps. So we get a little bit of light like this on this side. And then, of course, we have a nice cash shadow over in here. Construction line coming up in the corner, coming in. You know the drill. We can kind of start to add our eyeballs, and here is going to be pushed over because of the perspective. So I leads coming over looking up, Coming, coming over. So again, all that coming around the eye. All right, that's a wrap. 19. Mouth 101: Okay. Welcome to the lecture here. We're going to look at the mouth, and more importantly, we're gonna look at this skull and things. I want to point out to you here before we get to the drawing board. So to speak is the tightness here. So how tight all of these these teeth are within this skull. And then whenever we see that underneath, we got this sort of structure. I'm gonna look at this skull on the bottom left hand corner. So they're super tight here is well, and then they really start to curve. So we have a deep curve in this direction. But then, obviously, whenever we look at the the model here, all of that curve nature, all of those teeth what you're, you know, back in here, they had covered up with all of this flesh. Okay, that's pretty common sense stuff there. But you have to dough what's going on underneath the flesh with those teeth. Eso again? We're dealing with a situation in a structure that has a partial curve here, but it begins to curve mawr drastically when we get underneath here. So that's a deep curve. And you're going to need to articulate both of those very well, because the head, as you know now is going to tilt lean you gonna have for shortening where your underneath the face and different things like that and on top of the face, it's gonna be very, very similar, right? You're going to still deal with things that are that have and we're going to look right here for a second, this one that have that curve. It may be in perspective or whatever, but we always have to take that into account when we're drawing the mouth. And the hardest thing to me in terms of drawing and then also teaching is when the head starts to turn. Ah, then we lose kind of a grasp on how curves work in perspective when things are closer to you when things are far away. So these are some of the challenges we're going to face. I think that's pretty much it for what you need to know now with the skull. And now let's turn our attention to my drawing board and we'll start with a profile view. Yeah, let me bump this up a little bit. So we know now we've got the mask of the face like that. And you probably know that the forehead comes out and moved back in and typically would touch or come back to this gesture line right here. The nose will go back out, and then it will come back in. Now you do not want that knows to come back in all the way to the gesture line. And I'll explain why in a minute. And then we had this muzzle area and here and that will typically come back to that gesture line. Mother, have your chin. And here that can be a ball whatever shape you want. But we'll have something like that, and then we're moving back. So the idea here is that, um a few things. Actually, you have this throughout drawing the head or the figure. Whatever it is you're studying about drawing, you're gonna find that you always have these very simple shapes and volumes that more details start to, um stack on top up. So And this is an example of what we talk about. So we talked about Justo upside down sale and then we come back. We find we break the face down in two parts. And then we come up with other simple ideas and perhaps more complex shapes to put on top of that. And then we break that down and we add even more complex shapes to put on top of that. Now the face from that, say the knows where comes out here all the way down here to the chin has what's called a muzzle. Often times when you think of a muzzle, you're probably thinking of oven animal, a dog or whatever that has this sort of big shape going on and dogs, no overtime have used this part right here for survival and the often times use itm, orm, orm or, as time goes on, whereas with human beings, we tend to use mawr of this for survival. And this area, the muzzle has actually gotten a little bit smaller over the evolution of man. We're here the you know, the critters and some of the animals and dogs. And out there the brain may get smaller with where their muzzles gets a little bit bigger. But getting back to this idea of things getting stacked on top of own top of a simple gesture and then we take that we we build onto it. So, for example, you have this eyeball, It's eye socket here. That is basically, you know, a ball in the hole. Okay, so you have this ball back into a socket here, and then we have this wedge shaped for nose. And now with the muzzle area Here we have this Puffy. We had this kind of general idea of the muzzle here within. On top of that, you got these pillowy forms for the lips so that that may come down and here, um, you know, you have the bottom lip and here and then we get down to the chin again. The chin can be a ball. It can be squared off. Whatever you feel is best needed to describe that particular model. Ah, And then, of course, the nose over here would come back in towards be gesture line. But it was The muzzle itself would end out here and then come down. Let's look at another case where you we have the same our gesture here. And all of this is working the same for the nose comes out stops. Now what happens if we come all the way back in here and we put the muzzle and then we put put our chin. Uh, now the person looks like they have new teeth, and oftentimes we have new teeth. It could go in even Mawr like that. So it's important to allow for the puffing this and the teeth that kind of take up this particular area. Unless, of course, you're dealing with a situation where you know you're the person hasn't teeth, and that's that's basically what you're trying to draw. So in this case, obviously we don't have that at all. So this is our gesture line coming down here. Okay, let's talk about the shape of the mouth and what I would do is start with the barrel. So you go with a circle like that with a line through it, and I do want to mention that you that corners of the mouth track, So basically, if you had a head and was turned on this axis, Okay, so this is our net coming down years so the eyes actually could go up even further will go up here to the eyebrow. So underneath the eyebrows here can use those points. Obviously you can use, uh, corners, corner of the eyes, you know, to track here to here. So there's always an access that you can follow, um, for certain features. And even though the nose you have the nostril was a points here and with the mouth, um, you have these corners here, here and here, and they're always going to track with everything else. So eyebrows, eyes, nose, and then mouth with all these things basically track together One of the course, the common mistakes to do with the mouth is to do this. You know, this and this and they end up with Israel cartoony looking mouth. And we're going to talk about that in just a second. But you definitely want to avoid this and again the tracking, tracking, tracking, tracking. Another thing I'm gonna point out before I get into this is that if you were looking at the mouth from underneath, So let's say let's say this is the chin, for example, and we're looking up and then we have, ah, the nose. So the eyes would be in here top of the head. So again, you're looking at ahead. That's tilted back. So basically the teeth curve back in pretty tight. Okay, so underneath the flesh. Remember my shady the skull from underneath how tight they were here. But the actual flesh of the lips come out here. Okay, so that's gonna look something. We're like that. And that's because whenever you look at the anatomy muscles and everything else in this area, there's a bunch of tendons and cables and things like that that move the mouth up and down smile, frown and things like that. So that whole cavity, um, area now we'll be looking at is right in there. So again, you're the mouth underneath may have this sort of curb underneath that, you know, the teeth or actually turning back much, much tighter like that. All right, The next thing I want to talk about is we'll get into kind of a more a better description for drawing the lips than what we did here is that we are going to use this letter. M Okay, so you have this m like so, um, but what we're trying to do is stretched that out a little bit so we can move it out here, um, and do something mawr like this and then also, whenever we draw the center line here, we want to do the same thing. So, for example, if I come over here to the side and now I draw my stretched out him like so we have the center line that's also on em. But that's kind of flattened out even more. Okay, so we can get in here and do something like this, and then we come to the bottom lip. Okay, so we're looking at this and again, as I mentioned before, you don't really want to join. You don't wanna have a closed lip. Um, shape I'm that again tends to look very cartoony in the bottom lip. We can describe that as mawr of ah, of a straight line like that. And typically, it'll be a little bit longer or wider, depending on how you want to look at it. Then what you have from here to here, OK, so if I bring that straight down like that, then those points would be here and here. But again, we we want to bring this down a little bit more. Okay, We're gonna bring it down like that So that the line if you were looking at the corners, they will look something like that. And then maybe from here they would move towards, um, the points at the corners here, and that's going to give you a much better version of the mouth than something like that. So if you look at this kind of flat line here, what you're looking at is this strong cutback of the bottom lip. So this comes down and then it kind of moves back sharply to that construction line. And then, of course, I moved back out to the chin. So keeping this open, um, is important because typically what happens is in this area You had this tissue out here that kind of puffs out a little bit, Mama. So it gives you It gives the face a different feel, a different look than this kind of hard line that's moving back towards the face. So again, I'm going to do that read. We're gonna keep that open, and we're going to elaborate at on this, um, in the next section. But so those air some decent points to think about some basic construction ideas for the mouth. So again, we've got this m shape that's kind of flattened out for these two. And you could almost think about this bottom has a flattened you shape and that should do pretty good. And again, we're going to keep things somewhat open, which is really good. Anyway, you don't want all of your shapes and general, no matter what you're doing, to be closed all the time. Having them open tends to hope. Make the shape breathe a little bit. It doesn't flatten out. Ah, your subject. 20. Upper & Lower Lips Part 1: Alright. Starting with a new sheet of paper here. Let's go ahead and draw out the the muzzle here. That kind of circle shape for the teeth, the mouth, and then I'm going to add the center line. Okay, so basically, we're the top and bottom lip meat. Say so if we have our lines, something like that. Ah. And this this could represent the width of the teeth. Okay, so in here and then we know those lips come out like so Okay, so this is our center line. That top lip tends to come down like that, and instead of making a sharp m shape, So instead of doing, say something like that, we're going to kind of make it wander a little bit, um, so kind of more curved like that versus being, uh, too rigid and stuff. So kind of giving it a little more life, um, versus being too straight. And so this is the corner. This is the corner. Um, I can kind of make that a little more prominent like that. Um, now, if we look at the say the profile again, because what we want to do from here is trying to figure out the height of the top lip. So let's say that we have that profile view so coming down and we know our gesture line is back in here and so that, um, you're the muzzle comes back like this, as we've talked about. Then we get to the chin and we get that. All right, So, nose, and then we know all of these construction lines come back, and then we know that lips are built out. So this top lip will come out and then move back in towards our construction line are gesture line, bottom lip, comes out rounds and then move back towards the check. Okay, so we have something like that. So what we're looking at and what we're looking for And I'm sure you know this already is from here Teoh here And depending on the character, that top point from here to here Maybe that this sort of distance it could be a little bit thinner. You just never know. Could go higher. We know that depends again on who you're the what you're drawing. So who you're drawing. So let's say we have a height. Something like this. Okay, so the top lip may come out like that and then, you know, maybe moved down towards the corners of the mouth. Okay, I'll give this a little bit of Ah, we'll be a tone there. So the next thing I want to point out to you is this, uh, area above the top lip. Okay, so we have our top lip. I'll make that a little bit darker, More prominent. We had the middle kind of meat wandering a little bit, right? Not not too stiff. And this a little dip it And here have a U shape for most people. So and that has its own little kind of you at the top. And then it kind of moves off like that, so it will come in, um, down and then back off. Okay, So fill trump. So the filter, um ah kind of mimics the line of the mustache if the individual had of mustache or could grow one, and it has a big impact. Know why the lips move up like they dio Okay, So something like that again, softening that I am a little bit like so. So that is all kind of part of the structure if you look at it even a little more a little bit closer, you would see that it kind of would come down like this and then almost move into the lips like that. That's why we kind of get this, Um, like that sort of cross contour, like like so So again, the filter, um, is there above that top lip. You will see it on any individual that it doesn't have a mustache. And it's something we want to include is part of the intermediate and advanced construction ideas. So the lip color itself is impacted by the material is made off so the lips aren't skin. It's really a membrane, and the membrane comes from inside your mouth and they're wraps around, um, your lips and connects right here. Okay, top and bottom. And that's why there are different color. There are different texture than the skin itself. So again, that is membrane. It's not really skin that covers the lips. So if we wanted to, if I wanted to, I could take this little content a here, and we could actually color in ah, that part here of the lips and just for fun, a little tone there as well. All right, so let's take this a step further. So we had this kind of, um this start of understanding the mouth, I'll do one more over here beside it. So let's just start with that kind of idea of the muzzle. We have our line. We now know that I'll find my center. And here, let's say we know now that this thing kind of it's not sharp. We're kind of soften it. Um, let it kind of wonder sagged down a little bit. Come back up like this. Okay, we know we're going to find that height of the lip now with this top lip. Obviously, like I mentioned before, some may be thin. Some may be thick. Some may be in the middle. Also, some may have mawr pronounced I m other ems, maybe mawr rounded and subtle. So, for example, and save my height is here, I may seem, or of ah, you shape like that versus a sharp change in direction like that for me, maybe even a curve like that. Let's just say, for example, this particular lip upper lip is more like this. And then it rounds and then when we get to where starts to meet the outside of the mouth, it also you'll notice that almost it tends to even sag a little bit. Okay. So again, we're taking this idea. Oven em. Okay, there's RM. Originally, we squashed it. And now we're seeing Okay, that's this. Make that even mawr organic and add this next layer to it. Okay, so that's basically what's happening. And then if you come back in here, um, found that filter, Um, something like that. I'm moving off like that. So just something to keep in mind again. I mean, every every model is gonna be a little bit different, and sometimes you just have to look at what's in front of you and know that, um, not one m fits all. They're everything varies on some top lips. Even you may see a sag, and you may see very little evidence of the M where again you could get to another and you'll see a around here or really shoot up, and then it will really sack down. Um, so just keep your eyes open and always I know that no two people are the same, obviously, and we don't We don't really want to have a generic way of doing this, but it's good to have this general model and then know that it you can change it accordingly. All right, so the next thing we're going to advance here is this idea that this lip top lip can be divided into three sections and we're working left to right. And the first ah, section is right here. Almost like a heart. Okay, so if I were to take this and red, which may be hard to see, so coming down here and then back up in here. Okay, so that's That's basically ah, one section. And they don't either. Either side of that, you had these kind of horn shapes. OK, so they're coming down. Ah, like that. Okay, so you have over here one to so 123 Okay, so you have that sort of shape, and they're so again, we're just building on to these very beginning ideas. All right, let's look at that bottom lip now. And, um, I've talked a little bit about evolving this stiff line and to something mortgage Annick both on the middle for the lips meet and on the top. Um, So if you have this kind of nice, soft, pillowy, flowy sort of thing happening here, oftentimes it's kind of nice to get in here and work with more of a straight line on the bottom to give it a little bit of contrast. And again, I refer down to here. So we have our upper lip coming out bottom lip coming down and then moving back very sharply to that chin. Okay, there's are color for the membrane, and we're always going to measure, right. We're always going to measure where that sat. So obviously the lip can be here. It can be here, depending on the model. So this kind of striking in the middle here and again, I'm gonna think Maura of a straight sort of line. So coming out like that. And But, I mean, if you're looking at the model, you know, you may not like this idea straight. Maybe you're seeing something more like this. Maybe you're even seeing something more like this. So whatever the character is, do it not. My thing is, sometimes it's nice to have the Siri's of curves and then maybe play straight off of it. Just to give it that kind of contrast and something to kind of counter actor contradict play against those curves. So let's say say, for example, um, you know, I'm gonna choose a straight line there, and then from here, it can do a lot of things. It can move up, Um, curve up slightly towards, you know, the the center of the lips and here out. Not the center of the lips, I should say, but the center on this outside horn so it could move up towards here. Obviously, it could move curve towards the edges and anywhere in between, it just depends. Generally speaking, it's a little bit wider, as I mentioned before from here to here. So I like to kind of pull that out. I'll make this a little little bit straighter and then I'll decide to bring it here. Okay, obviously, with um, you know, finding curves, finding curves like this, curves like this curves curve, curb. He always had this straight edge you could compare things to so you can hold or something straight up to your model. Look at the lips. You can see how that curve interacts with a straight line and Sometimes I don't help you see curves that you didn't realize existed. Then also how help you gauge the amount of curve that something has. Now I talked about this pillowy form is kind of heart shape here and then on this side on the lower lip, we kind of have these two pillow reforms like that. So we have that one and then this one is typically divided into 21. Upper & Lower Lips Part 2: typically, when you're dealing with age, um, you want to make someone look attractive? Younger mawr, Others say full of life type of thing. Um, you don't want to make the lips. Probably a little bit puffy. Er, I'm give him. Give him a little more body. Right. Um okay, so that's when I increase the youth, the vitality, all that stuff. Whereas, um, if you look at babies, babies are a great example because they had these rule pouty lips. Whereas, as we get older an age, um, okay, Azzawi age and things like that, you're gonna find that the lips become perhaps a little more straight not as curvy. Ah, that they tend to kind of lose some of that fullness here. Okay, so that's just kind of something. Um, You want to keep in mind, too, as well. And you can kind of make take a browse on the internet, look at some pictures, study, and you will see for yourself kind of some of those distinct differences between ah, young and old lips. Um, so these pillowy forms. So we've got getting back to this, and here we can even say this has five. So 12345 kpa These kind of pillows and make up the lips. Typically, what happens is I'm going to do this. I'll do this with a pencil. So let's say we I do are I'll start from the very beginning. I'll do this really quick. There's our center line. Okay, there's RV, the center of the lips that we know that that's going to curve. Ah, maybe do something like this. Okay, we have our upper lip. We know that's going to curve a little bit, maybe come down sag a little bit nice. Young, youthful, beautiful, healthy lips. Right. Um can do this if I want in here as well. So we can do this for the heart. So there's our horn looking pillows. Okay, We have our bottom lip, which I'll do nice and full and then moving up towards here again, keeping that open. Ah, pillow form, pillow form. So typically, um, a good thing to do when you're drawing or rendering is trying very the thickness and the intensity of a line. So obviously here I did everything really light. So maybe Ah, as a changes, I could go a little bit darker and then let it taper and then fade out as it gets to the edge. Typically, where the lips come together even especially in here things maybe a little bit darker. Typically, where we this pillow form is down here in the upper form come together and here and in here . So we're looking at where this meets the middle and this meets the middle. I don't tend to be a little bit darker and there as well, so we can go a little bit darker, faded out a little bit, a little bit darker, faded out and then maybe even a little bit darker as we get to here. So basically the forms don't come together very well here and here they're always tends to be a little bit of a gap or something like that happening. So you're you oftentimes see that happen. And towards the edge of the mouth, we could go a little bit darker underneath because again, we're dealing with that strong sharp move back, and then it will tend to fade out here where the ends of the mouth are in here. You have that cheek starting to overlap a little bit and you'll you'll tend to see a little bit darker area right in there as well. All right, so if we were looking at this here, um, your teeth are going to be in this area. So we were really trying to look at that barrel of the mouth coming around. Probably like this. And we know those lips stretch out up and over that shape. Now, what happens is so this is underneath again. So we're dealing with all of this. So these lips come out, turn and then go back and here and then no change direction. Come back out for the chin. So what happens as we move around these pillows here on the bottom is, um, this part of the bottom lip and and here Uh huh. I'll come over here, this will start to where they move up. Basically, that this will start to kind of puff out a little bit and then move around. Okay. So that the lips from here to the corners most of the times, but well attended almost flatten out. So you don't get this sharp change in direction. Okay, um, on the sides that that skin from the flesh of the face and the lips. They tend to kind of bulge out a little bit. Maybe bulge is a strong word, but it'll puff out and you'll get this feeling of things being a little more open there. Okay? And it will tend to, um, kind of bulge out and then move up and around towards the corner. OK, so it will come down and then kind of move out like this, like that. And, you know, the transition is just very, very subtle and very, very soft. So if I were to come over here, let's just say I use this one since this a little bit bigger. So things may be darker here, darker here. Darker. There were things. Meet baby darker towards the edge. Okay. Nice and organic. Flowing. Strong line, right. Moving up. Fading. Okay. The teeth we know are. And this area, okay. And then rating. Here's what I'm talking about. So as this moves up down in here, where this creases okay tends to do that and then move towards the corners and then it'll kind of fade out like that. You had those sort of forms happening there underneath, underneath that lip. Um, you know, you're depending on the light. It tends to be a little bit darker, you know, Shadow. Um, I don't tend to be a little bit darker here and then kind of fade out, lighten up a little bit as we move away. So important to understand that sort of structure here. And also, of course, understanding where we had that sharp change, how things tend to be a little bit darker here, maybe, and then underneath, you know it is curving and then is coming back here and maybe catching that light right. And then we come down just for fun. Let's put a little dimple there has put a our chin and here, face moving out like so single without just a little bit more in there. So again, very soft transition from here to here. And I'll just make that a little bit darker. I could find the right pen just so we can see it a little more clearly here, and I'll do it on the other one as well. There is that 22. Master's Analysis Mouth Part 1: All right, so here's our whole bind. We have learned a lot from this piece and again I get back to the subtleties of how this was done. Just amazing when you really look at the amount of detail. But it's done very quietly, so nothing about it is loud or obnoxious or even remotely close to it. Ah, lot of sophistication underneath the hood here. So, basically, that's let me go with the light color here. And I want to point out, um, this w shape coming along the lips here. So something like that. I know that's very late, but I will go over it now with a little bit of gray here, so that w is going to be really mashed down. So I talked about that when we're dealing with this W and even underneath it starts way out here, moves down, back up and then out notice here at the corners, best played down big time. We do get a little bit of ah, um, some value in this left hand corner. But for the most part, all that's played down really well. So we're we're seeing ah, very delicate, thin lip. So, unlike the what is fashionable now with the Palais de lips and all that stuff. This particular piece is very austere. And, um, I guess it's just in general very thin in the lips here. And then again, we come down here to the bottom lip. We can see it's the cow. Subtle the the these tones are and the way it was drawn to get a little bit of value. Um, over and here underneath. We're seeing that below that white a little bit of value here, and I'm gonna go over this in a second. But then as we move to this side, I mean, you're not really getting much, and they're also it's very delicate, he conceded. It's not a cartoony in the way. There's an outline around every single edge of the lips. Um, those things just really don't do much for the peace. And now let's look at this shape here. So, basically underneath, I'm gonna go a little bit darker so you can see what I'm doing. So we get underneath that lip how it cuts back, and here we get that little bit of value right through there suggesting this sort of how did this in this area that comes out here and moves towards the corners of the mouth. Okay. And obviously, we've got a little bit of shade here, A little bit of value there. If you come up here to the filter, um, above the lips, we get a little bit of value there, and hence, I mean, absolute smidgen of a value there to indicate that. So let's add one more layer here, and I will remove that. So now we can kind of appreciate ah lot of what I was talking about here. So if we were to look the same from corner to corner, So we get over from here to here, and her teeth okay, are gonna be in there in that area. Okay, That muzzle idea, that shape eyes moving out like this. All right. And then we can see the teeth. Um, you see the outside edge from here to here, that mouth extending beyond those teeth, and then the chin. All of this in here kind of cuts into that as well. And that's that shape from the side, You know, where their noses coming down coming back towards. Okay. And then we get those um that the lips that puff out here and then move back, and then underneath you have this and then it moves sharply back to that chin, and here and then it cuts back out there. Okay? And And that Chen kind of cutting and to that. So underneath the lip and here. So that's ah, here. And then all of that from here to here is happening from about here, Teoh here and then this kind of, ah, shape cutting back in to that. So good stuff there. Ah, great start. I think to some of the basic ideas we talked about. And now let's move on to the next one, All right. Looking at a branzino here and right away we can see a major contrast to the whole bind that we just looked at. And what I'm referring to is this played up. I m right in here. Okay, we're seeing that very prominent shape. Ah, fairly rounded, though. Really rounded, very feminine, very soft, flowy line. And underneath how we're getting this sort of our king this way. Um, and you have to think that maybe that's to do with the fact that we're underneath the structure ever so slightly, you know, we're underneath. So the construction lines are running like this around. If we track it from here to here, seeing that sorted line we're seeing here and we kind of see it on some of the lids, obviously here to here. Okay, we're seeing it all over. Even the shading brings us that, And this brings us that That brings us that so that that's all following and reemphasizing the tracking and being slightly underneath the form. So this give back to some of these interesting details here, and I go with a dark grey so you can see the line of the mouth. These lips is Pau Dennis, right? Remember when we talked about that sagging a little bit right in here. So we get to that m okay. And we get that sagging going on here on. Then we get this pillow. Ah, pillow form. And there. And we're seeing that right. They're not shaving their Okay, so I'm gonna make that read, just in case you didn't see it. And there. So if I remove that real quick, here we go start to see that. Let me go back to dark. gray. So we're seeing that sort of thing. We can also see the filter, Um, and here, shaded above the lip. And we can see how it comes out there with the muzzle. You know, that puffiness here of that upper lip? We're seeing that bottom lip puff out and then really move back in to that debt. We see that chin come up and over that area where it moves back into the mouth. Interesting to, um, you know, we're underneath. So are tracking lines around our form. We've talked about here like this, and so that mouth is coming here. And then when we get to the ends of it, we get that slight curl up in the air just to get away from any sort of frowning finish. Next thing I want to talk about our is some perspective case, that center line coming down here. There is the corner of the mouth here, and there is the corner of them out there. Switch to a yellow. So there's our lip on this side. There's the left side bottom and then here, so power to shave that in, shave that in, and then let's get to a green. I'm sure you know what? I'm getting that now that we were getting a lot more on that side. The right side. So there we are, here, in here, And this is getting stretched up and over towards the side, elongated over and then moving up. Well, that's that. The next thing is understanding that area of the mouth. Let me go with my color picker. Try to get something less intrusive here. Less contrast. So you see that bottom lip here, and then it starts to move up towards them, doesn't move up towards the corner and moves up towards the middle of the mouth and here or the side. But look how that shading all of this in here fades away. And then we get that kind of, um, pouting this in here on this side. We can see that pounding this moving out and then up and over and there but noticed the we have that on this side. And then we have it on this side as well. And again that Chan moving up into itself, I had to gassing that we could say their teeth. Maybe in that area, you know, the muzzle area and then the lips coming up. That was probably a little too strong, stretching just beyond this right here. So it's a very beautiful example of a lot of the things we've talked about. 23. Master's Analysis Mouth Part 2: all right. Here is a pia's ETA. We've seen this one before as well. And we've talked a little bit or actually a lot about this m idea. Um, and whenever we're seeing a profile view like this, sometimes you're only seeing yeah. Of that m other times you're not even seeing that much. Which is the case here. You're only seeing this section all right in there. So if we turn our focus to the drawing, um, you're getting that part of the M there, moving around and then here underneath the bottom lip, because the head has turned away from us. We can get a good view of the under plane of that lip. Okay, so we're seeing the under playing all of that, Uh, right in there, right in there. And then we've got a little sliver of that bottom lip, and you could see the curvature. Um, you know, we could see the tracking here. You got the eyes, the eyes, other knows, moving this way. Um, so that mouth is moving around and back to this side, and we could see that in a very subtle, uh, of this lip coming around in that chin all this comes forward of it, as does this cheek. It's coming forward of the lips showing us that, um, the layering effect that's going on there, so very subtle, this pieces. But again, I think we can see a lot of the tracking ideas. So these features really wrapping around that form? Okay, so this is our tube. We have to envision a lot of times the other side and how things wrap around. Okay? How things come and wrap around those forms without actually know seeing them. I noticed, too. How open this is right here. Okay. So you don't see a line from here to here. All that was left open. You indicate that kind of pouty nature of that section right there And how that joins. So, Suttles that maybe, um, there's still a lot we could take away from this profile view. An understanding how the ideas we've shared leading up to this are applied. All right, we'll finish it off here with Raphael, and let's go ahead and look, um, at this puffiness right here so we can see the lips come up in here. Okay? See that kind of space and there's it's an open line, Open shape. All right, in here. But if you take that away and we get in here, you can see how that wraps up and moves towards the corner of that mouth Over here is indicated. But it's just like a V almost, and that's because of the perspective. Okay, so when we look at that perspective, we're getting a center line, Okay, Down in here. And here's a corner. This corner is hidden. But because we just trace the center line here, the lips and then moved here, we can see how much is on this side and then how little is on the right side. And so in that case, when we're coming down a center line like that and the lips air tracking on this angle, okay, case that bottom lip is coming in and just basically wrapping towards that corner. This basically hidden and the Neutering here is coming up and moving there. So this shape moving out here towards that corner, the new born here because of the perspective. Okay, there's underneath the lip. We're only getting that. I'll make that a little bit later and value. So we're only seeing a little bit of this ray here and is done through. Not even lying has dunmore through value. Take that away so you can start to see that. Just adding a little a little bit of value there, um, gets that, but we can see the shape more prominently and more so here and then there. And that chin cutting right up into that shape. There is our filter, Um, right here, above the lip, coming out. Okay, So from the profile view, um, we know that comes out with this part of the face, and that's what it's doing is all that's heading out with that curve. We can see this Hello, E shape right there on the lips. And then we can see the pillowy shape on the left side of the lower and the right side. So if I remove that now, he can start to see a little bit of that, and I'll draw over at one more time. So even though this is catching light case our light source coming from over here. So all of this pillowy form and the lower lip remember the lower lip that this is the upper lip. Okay. Like that and we had that kind of heart shape with that m for this one. And then this pillowy shaped thes, pillowy shapes move down the middle on the left, in the rights we can see here and a little bit there. Now they're not balls or not. Prominent is a very, very subtle thing. But if you can get it, if you can see it at it, if you can do it well, then, of course, you want Teoh. Include that detail in your drawings in your studies. So we've got the feeling of being slightly under. Okay, so the tracking is going like this. Obviously, we're in a 3/4 of you. So we're getting mawr of this side and less of the right side, which we talked about before, but to get rid of that frown So we don't want those lips to come around and basically end up with someone, you know, sad like that all the time. So we can remember give that little curl up at the end. So in this case, we can only see the left hand side, but you can see that little curl up right there. So that's done very, very Well, all right. I think that kind of covers it for now. Um, keep in mind everything Tracks like I've talked about before. The tracking from the eyes, the eyes, the nose, the mouth. Even though we can't see that right side, the lower lip, the chin, even though is very rounded and egg like those things always flow together. And they always work with that center line. You know, figuring out where all of these construction lines are, where these tracking lines are, and then we can go in there around him out all we want to create a more feminine, a feeling or more masculine feeling or a combination of all the above. Now wrap up the Masters examples, and now it's time for an assignment. 24. Mouth Practice Reel Assignment: OK, it's your turn to give this a shot. You have a series of four minute poses, and your job is to think about that. Mouth construction. Don't focus on what's on the outside so much, but what's on the inside? Remember, you have a front plain. You have side planes. You have the pillowy sections that are all coming together emerging. We had some EMS arm or flat, some warm or pronounced the pillowy forms on the side. The these are the things that are important again. We're not looking for finished lip drawings were thinking more about the mouth as a whole. Good luck with this assignment, and I look forward to seeing what you dio. 25. Robert's Take Mouth Assignment Part 1: All right. So we have a front view here, and it's pretty easy to use your device here. You're drawing device. Go corner corner. I can see it's a fairly straight line, but also, um, there's a slight upward nous here, so the center of the lips is over higher than I should say, The bottom. So we're getting a little bit of this going on. Okay, um, there's your corner now can look at the V. So if this is my center line here, um, somewhere I can kind of take this moving over. So we have ah, fairly pronounced vee. His shallow here comes up, It actually kind of fades out over here. Okay, so we had that sort of thing. Okay, so now we're coming down and then kind of almost moving towards the edge there and on this side, though again, it looks a little bit lower, and it kind of tapers down and then moves out towards the side here. Ah, the bottom lip. Fairly thin. Little bit of fullness here. What I see is a little bit of the straight and here, and then it starts to move up towards the corner. But it's going to kind of taper off right in there a little bit and then on this side, same thing and then moving off towards the corner, the filter from we can see right here. Ah, and it's mainly because of some tone that's going on. And on the inside of that filter, um, we're seeing it again with tone like that. Okay, so we've got this going on. I can add a little bit of color here. I can add a little bit of color here, weaken, change, weaken, mess with the line weights or a little bit heavier. And here, as we move towards the corners, maybe a little bit lighter and here and then maybe a little bit stronger as we move towards that corner underneath the Chen and or the lip. And here we can see a little bit of that pouty nous here in that section. This is coming down, and then we get a pretty strong intersection here where that Chen moves up into that bottom lip area. So all of this is underneath that lip, and I can add a little more tone on this side here. Um, these lips are coming together here we can see the cheek and there and here and moving down in there. So that's coming here towards the chin and then tapering down. So we got nice square chin here. Kind of moving up there, seeing a little bit of that powder nous here too. Mainly with volume. Just a little bit of shading going on here, but is there? All right, So, uh, so again, kind of coming up and over here tapering down more so on this side. I think that's pretty good. Eso this one again, using my pencil to find the angle. So we got something along these lines. The center line moving in here s O. This is the center of my lips. I can use my pencil again and see that's curving down. Case we have something like that case of his curving down. Maybe when I get to the corners, I want toe move that down a little bit. Okay, so I'm kind of balancing out that overall direction of the mouth and the curve this way. So nice and full. So we have I say the center here. Um, we can see a center crease here on the lips as Well, so that's moving up and over towards that corner on this side. We're seeing that V V isn't prominent like that is very curved. Maybe a little more chiseled here. Okay, so that's coming up and then softening as we get to that corner like that. Okay, we're seeing a little bit of the corners, speaking of corners. So we've got the front here, And then as we get to this section right here, even changes angles again and moves towards the side of the mouth the head a little bit. Okay, so there's that straight and then back and here we're seeing it a little bit there as well . We can see these pillowy forms here. So underneath the lip, nice and full, like so And because of the angle of this one, we can see that shape of the fullness of that lip as a heads to the corner and that pillowy form here because she I was wrapping around that and then moving up towards here underneath the lip. We're not really seeing this is fairly straight right in here. But then as we come down, we're getting that Chen here because of the angle. So that's coming up here. And they were moving out there into the cheek. The filter? Um, I can add, um would take a little bit a little bit off the top. Here. Sorry about that. Broke my lead a little bit off the top. I think I was a little bit too strong. And now coming down so I can add a little bit of, ah, tone here. And we've got a little bit of a tone and here around those pillowy forms. So the filter, um, we can see. We can see that. Kind of. That's typically how you will want to see it is seeing that kind of shadow that happens because of the nature of that basically dealing with a div. It sort of thing that happens here. So again, nice pillowy forms. They're moving around. See that pouting this going on and we're good to go. All right, we're underneath this one. So again, if we're doing our tube, were that to will be moving really strongly away from us. So if I want to again use my pencil here, um, the direction is actually fairly straight from corner to corner, but, um, I'm marking my corner here, then this center line is going to come up. But we can't really see this center line, can we? So the center of the lips is actually hidden because of the perspective here. But what we can see is these pillowy forms here and here of the bottom lip, and we could see how that's coming up and then moving down towards the corner. So I'm gonna pull those corners down and here that as we get to this top lip, we're seeing a lot of flat or membrane, and here and because we're dealing with the angle, this is a very subtle V. So we're not dealing with a V on the top like that. It's actually starting toe level off a little bit and then move down. Okay, So was coming up and then coming back down like so. So these pillow reforms air coming up this now and then moving down, maybe even a little bit stronger like that as we get to the end. Maybe you want to curl that up a little bit just to counterbalance it. Okay, we can see that that nice shape and here, and we can kind of make it out here is well, so I can throw some little bit of volume here. We can change the way to the line underneath and here. Okay. Make that nice and thick as it comes up. And as it comes down here, we got that cheek. Can't really make it out on this side because of the lighting. So underneath, um, at a little bit here. No, at a little bit on this side as well. So underneath that, uh, lip here, we can see this under plane, but it's fairly lit up, but we can kind of see that little bit of tone here and then how that chin ah moves up and over kind of end to that space. And then we could see a little bit of that kind of pouting this going on in this area here , Phil Troma is almost non existent because of the angle. We're getting a little bit of ah shading there, but there's not really a lot to speak of their, and that's because the nose is basically taking off immediately. Right here. A little bit of that filter from And then again, you got your nose coming into play. So underneath that Chen playing those angles here. All right, 26. Robert's Take Mouth Assignment Part 2: um, so a 3/4 view here. So again, finding the angle here, everything is going to track with that nose. Eyes, Chen, Whatever. Now I can see going from corner to corner with my pencil that is moving down. Okay, so that center line, the lips moving down off put my center line for the lips about right in here. Casey coming in here, starting to level off and there, and then it moved back up in a way to the corner. So this side is You can see this little indication of the center volume there. Very, very soft. I m here on the top, and it really comes down quickly and just kind of disappears into that center of the lip. Okay, so this again would be our top lip. And then our bottom lip are getting a little more fullness here. And ah, very, very rounded. And again, kind of we can't see. Because of the 3/4 view. We can see that shape a little more prominently on the right hand side. And then as it comes over to the left hand side, we can see it a little bit, but it'll fade out fairly quickly and here and then again, we get to these cheeks. Phil trim is very, very soft as well. We're not getting, ah, huge pronounced shape there, like so and then underneath the lip, we got a little bit of, um, a dent here underneath. So where was really moving back? And there I can change the weight of the line, especially right in there. So bringing that up a little bit heavier in that section, and that's about it. Everything over over on this side, it's fairly soft. So underneath the lip, and then you kind of have this ball, the chin here, bunching up our cheeks, coming down and then joining and rounding off so fairly rounded features on this one. This particular model and looking at this kind of pouty nous, this here underneath the lip starts to move into that structure there. If you're rendering things and you're doing a finished painting, I mean, you may not even want to, you know, add these sort of things, but you just have to know when you're learning about them, that they exist. And then you can decide how much rendering you want to do with that or how much of that you want to include in your drawings? So here we have a side profile of you here, so I can do kind of this gesture line. If I want something like that, I can see the the front's are tracking like this. So I'll use this as a center of my lips. And the interesting thing here is we have this front of the box, and then we have the side of the box. And you're seeing that here very, very well through the center of the lips. So we come here. Okay, this is the top of the lip top lip here. We're seeing a slight. We're seeing a little indication of that. And what's interesting is that when we talked about that profile view near the nose coming out coming back, and then we get this sort of shape. Okay? That's sort of shape still exists here. We could still see it. So we have evidence of that sort of shape coming in and then blending and to the center of the lip. And then the bottom coming down like this came Then again, turning and to a somewhat of a straight line. There So this is coming up V. So that's our center here. And then the center line for the lip is turning the corner here and then moving back this way. And that's that's a lovely thing to to do and include with your drawings on. But it's kind of gives that feeling of the head and is true shape. How you have a front in a side plane like that underneath the chin. We're getting that. We could see how it's softening this curve moving in, and then that chin que moves over. So all of this is tracking. We can see through the shading how all of that is tracking and then kind of moving up towards the side of the face. So the filter, um, is lovely here. You're getting that nice movement there. So let's this ad a little bit of, ah, volume here, a little bit of tone, a little bit of tone on the side, and now we can see that kind of pillowy form here and where these come together. We got a little more weight here in the line, moves down, and we're seeing that kind of move up and there on that left. I could see the weight can be increased in here until we reached the corner of the mouth. Obviously, I put a little more weight, and there we can add a little bit of volume to that bottom lip. And then again, the filter from moving up this way towards the nose. We can see a little bit of that center field traumas. Well, will be that cheek there cheek coming down from the nose. So a nice Ah, nice study. Their a nice example. Getting that, turning the corner feeling through the lips. All right, so, uh, come another 3/4 view finding they're these lines through the eyes nos get into the mouth. So corner to corner again. Something like this Finding the center line of the lips would go here. So obviously we've got a little more on this side and a little bit less over here. Lips are nice and full, so we can come up here and we have a V, but a very, very soft V. And over here is just turning kind of going up and over towards that corner that we really can't see because that bottom lip and this lip are kind of covering it a little bit. But now, as we move on to the right side, coming up and then softening and moving down towards that corner. So underneath we're getting that shape here. We can see if we can see that horn shaped to here. So, um, through this area and here and you'll see increase right in there. And that's that horn shaped we talked about earlier. And once we get over in here, um, this bottom lip takes over and then we get the same track and want to make sure we tracked consistently all the way through. And it's somewhat straight, you know, somewhat straight, right along in here and then because of the lipstick and everything that's on the model here, we're seeing a lot more of that, um, membrane area. But if they were just flashed, then perhaps that wouldn't be is noticeable. So now we can add a little bit of ah, color there. We can add a little bit of color here. We can make out that pillowy form here on this side. We can see it, but it's not as prominent because it's moving away from us nihilism. Moving away, but it's curving around like that. So this is all coming up and then this is all coming over and front of all of that. Okay, so that's trying to dive deep into the construction, Okay, understanding what's going on with the volume, not just focusing on contours so underneath We can see a little bit of that moving back towards the mask of the face. And then we have this little bit of a ball here of a chin moving into it. Ah, the filter room. We can see very nicely here as it moves this way, and it's got a little bit of volume over there, and then we get a little bit of volume. I say volume. I really should be saying tone there as a moves towards the nose. So we got a little bit of evidence there. As this moves over and out, we start to get that sort of pouty nous on this side. Can't see it as much because of the perspective. So that's that. So hopefully you were able to take something from these exercises. I look forward to seeing what you do 27. Ear Placement(s): I welcome to the ear a very complex, tubular sort of structure. There is a lot happening there, obviously. But this just break it down to something simple that we can all understand. After all, that's the goal of this course is to make the complex things seems simple. And we do that through various ways. All right, so we have, ah, profile of you here. You know, that comes out eyes. We know the nose comes out the muzzle. And here, chin and so on. Okay, so this come back and we know that year is going to sit back in here. Okay, so then that ear typically will be in the middle case if we take this space and we divide it into thirds, Okay, the ear will be roughly in this area, all right? And we can even do this kind of egg shaped for now. Now, the jaw, the jaw line is in front of the ear. Okay, so all of that's in front school wraps around. We have our neck di gastric plane and then neck here. Okay, So jaws in front of the ear. And that's because whenever you start to talk, okay, that bottom. Ah, jaw, the bottom lip. All this stuff is going to be moving up and down, and your ears tend to stay somewhat stationary. Okay, so if the year were connected to or in front of the jaws, then the ears would move up and down with this structure and this structure right here, that's all called that the mandible. Okay, so So again, the placement of the ears important and getting it connected is important as well. Whenever we are dealing with, let's say a, um a different sort of you. So we'll do something like this. I'll do the forehead. That's just pretend we can't even see the nose and we come down on. Then they say, We've got the back of the skull here like that. Maybe that's turning this way neck, and we can place the year close to the head or close to the front of the face. In that case, the jaw would be here, coming down and then wrapping underneath. Maybe you will see the chin there, something like that. Maybe you will see the neck coming down and all that stuff so so that the air is a very powerful tool for helping us decide what the head is doing, which way is turning. So, uh, again, just something that kind of keep in mind as you move forward. So that's just going to talk about some of the basic ideas of the placement again. So typically, what will happen? And I'll do this. Um, do this one more time. Okay? So what? Do this sort of structure again? I'll get all of this out just so we have it as a reference Muzzle Chen coming back. So that's a little bit bigger, obviously. So underneath, Mac, come back in here. We have this. So I talked about this mandible section in the mandible section. Isn't ah, parallel. Most of the with the face. So this is our gesture line for the face, and we come over here. We want a mark. The section the mandible, A mandible. Rather is basically and more of an angle like that. Okay, So when that year is connected or in place behind it like this, typically that's what you're going to see is well, so at the front of the face is like this. Typically, you're gonna have something like that for the ear Okay, So what? We're what we're not dealing with is this. Although sometimes you may see things that are somewhat vertical You may even see something that starts to turn in. But more often, often than not, you're going to be dealing with Maura. Oven angle this way. So a good thing you can do sometimes it just kind of start with this egg shape, cut it all, but we cut it off, we're gonna lop it and more of an angle like that. And then we can add a little bit mawr to the back of the ear or the top of the year and then a little bit less to the bottom at the bottom. You're gonna find that this is the top coming down. Sometimes it will meet like this and then just kind of moved down into the cheek area. All right, And then other times it will come down and we'll get a little bit of hanging down of that bottom of the ear. So again, we just kind of have to pay attention to what's going on, because there a lot of variations of the ear lot variety of shapes, the things I teach You are kind of like general models, as you know, now and on Lee Ah, used as a means to kind of get started and then move on. That's a few things to keep in mind so far about the ear. So we've got the placement, which is always behind the jaw. All right. As the head turns a little bit, um, you're going to get closer to the front of the face, and we're going to see a lot more of the back of the skull. It oftentimes isn't parallel and tracking with the angle of the face. Okay, Okay. That sort of thing typically doesn't always mess the same. So if this is your angle, then you know that year, maybe moving something like this a good way. But again, you may see some sort of variations, and you will see some variations of the year. But in general, I would say you're kind of dealing with something like this from you can start with that egg shape, make it a little bit fatter, a little bit leaner, crop off a little bit, um, sometimes will come and meet and just kind of merge down with the jaw other times we may see this happening. All right. Okay, so there is a thickness to the era's well, so any time you're behind the ear that say something like this and I can kind of blow that up a little bit So let's say that's that years like this, and then we get that. Okay, so we're getting that thickness happening. Um, and of course, that's gonna pop up in other areas to which is what I want to talk about. So that year isn't just flat, it has a certain thickness. So let's say if the head was toting away from you and you were under it just a little bit, Ah, then we could draw like this. Let's say like that. And maybe we have something like this. So but thickness, maybe something like this. Okay, so do some cross lines here coming down and here, coming across and down here. So you always have to watch out for that. And, ah, front view you may have. You will see most of the time. Ah, certain thickness as well. So let me bump this board up a little bit, so I'll do that over here. So let's say this is our front view this or egg shape here, and we've got us our center line. Okay, so we just kind of go through some of these construction ideas. There's our eyebrows, eyes knows and all that stuff. So we know that years, um, sit in here so we can, depending on what they do, they can come out and then back in, they come out and then back in like that. So maybe I want you add a little bit of color here. So on the front of the ears, Okay, you may see a little bit of thickness and here and here, Okay. As that goes up and then wraps around and typically down here will start to dissolve. And this so may see, depending again. You may see a little touch of thickness is there as well. And then, of course, we've got the back of the skull and here and then in the front, the cheeks will tend to cut this off a little bit. And here so you'll get a no overlapping happening as the cheeks come in front and this will all kind of join the jaw and there and then you know it will start to I'm obviously moved down. So again, if I take that and blow it up a little bit more Um, so this is the side of the face. So we got our ear, like this kind of these little almost disks. Ah, again, you may see. And it didn't that flap, that angle could be out. You know, here, here, here doesn't matter. But you will see that thickness here and the ears just joining you don't. You're not getting this attached or detached bottom of the ear. Then it's just going to merge and kind of blend with the jaw. And again that cheek is gonna erupt it and then you'll see behind that so that this sort of shape the back of the skull was coming in, You'll see it cut here and then back down and then hit the cheek. So it's kind of like, ah, puzzle piece fitting in there. Then, of course, you've got that front thickness of the ear in here. So that's just something to keep in mind as well. And just to emphasize that, I'll just add this thickness idea to our ears. I'll go ahead and even make that a little more obvious there and kind of maybe even a little more cartoony. Just so we we understand what's happening. So we've got again that back to the skull. This is coming in, cheeks coming in front of all of this stuff. It's square that off. Maybe. Like that coming in, Al, Pretend we have a little lobe here joining the party. So we're getting a little thickness, maybe in here and then as that joins the cheek or the jawline And here But anyway, so that's just some of the mechanics, um, you're gonna want to think about you may even see some of the neck here. So jawline cheeks, Um so, yeah, just some of the mechanics you wanna want to keep in mind as we move forward of the ear. And now let's kind of break this down as we should, and dissect that inner ear and what's happening on the inside versus the outside edges 28. Ear Perspectives Part 1: Okay. So as I mentioned, we're going to break this down a little bit here. And to do that all to start with my Carmen red Prisma color here and this just start with a little bit of an angle and we'll do this very generic, see, or egg shape. And I'll go ahead and pretend that we have a little bit of Ah, a load there. Okay, so again, very light. Because I'm going to add some layers to this as we go, depending on the ear, obviously. Ah, this sort of generic shape will need to be modified accordingly. Typically, what you may find sometimes is that the upper ear and here ah, well seem a little more chiseled us. We may get something like this and then come down like that. And who knows that it could be a little chiseled in here too, Or maybe a little more rounded with some of that, and it will probably be a combination of both. Okay, Um, there is this sort of tubular form that comes down in here and then will fade out a little bit. You could think of a tube like this. So that tube is coming up and over. You may get bunched up here, and then maybe it will start to move back towards you here. We're not gonna need that. What is need this sort of structure here? And then it'll kind of moved back towards you and here, and you'll find evidence of that tube. Ah, structure. And here and again, it's not as, um even so you may be Ah, that tube could easily be a very thick and one place it could bunch up over here. Ah, and then maybe it will start to widen up and then get lean again. It may get to a corner and here and hook up and then back down or something like that. So again, I'm gonna make things a little more generic at this point. So we'll say we have our tube idea coming down and here and then move in back towards this corner of the say, maybe hooking. And here and then, um, maybe moving down in there towards the bottom of the ear for now. So I'll just take a little yellow here for now and color that in well color of that. And I should say, hopefully you're there drawing along with me. That will be an ideal scenario. Eso again, this tube moving and see is changing again. I'm making this up. Ah, who knows? Um, exactly what that year is doing? Um, again, It could be thick and here, then hooking, maybe thinning, winding up and then thickening again, so that that's just kind of one idea. All right. So, again, um, the main thing, I think is to always pay attention to the thickness going on. And, um, you know, it may be a little bit thicker in here. Reality towards this top. So, um, there's this idea here. So again, you could think about the basic, um, that kind of egg shape of the ear. And then we we lop it off at an angle, right? One is bigger, a little bit smaller, comes in a little bit towards the bottom, runs parallel most of the time with the jaw, and the face Would would kind of oppose against it a little bit. So the face is a little more upright. So we said that now you can also think about that shape right here, generically speaking here as a C. And now we're going to add some question marks. Okay, so this say this, Um But before I even get into that, this bottom right here will kind of come down, okay? And then typically, it will. It will come out like this, and they kind of poop out right? And right in here somewhere. So we have this kind of channel going on in here. So if you kind of reached on the tip of your ear up in here, So this is the top. This is your lobe. Um, so bottom, um, you kind of reach around that. You'll see that there's a certain thickness and there's a little channel up in there a little bit, but basically, you can think about this as coming down like this, all right? And we get this little kind of question, Mark, something like that. I'll just put two of them, and that's going to indicate, like, a little bit of thickness, a staging. So, like, if there was a line to see coming here, coming down and then out, So just kind of sometimes putting that in the air will mean there's a change happening somewhere where two forms come together where one form stages up kind of stair steps a little bit, so just kind of adding that here, for now is fine. So you kind of have again this question mark coming through. Ah, this channel, sometimes up in here, if you can see it, um would be a little bit of, ah, question Mark. Typically, it will get hidden, um, and tucked under at some point. Okay. And then the this would be considered the one question mark. Okay. And then we have another one, but the other one kind of fades back a little bit, so we're gonna tuck it under, all right? It's gonna come up like so and start to come down towards they like that, don't start to come down, But instead of, um, getting a a dot at the end, and then we can reverse these, obviously. Ah, Anyway, the sea could be turned this way. That way, depending on which way you're here is are question marks can be doing the same thing. But basically you have a C again, plus a couple of question marks, and this one again is going to kind of come down. Let's say like this hook in and then kind of poop out like that. All right, so we'll give this one a little bit of value as well and notice I'm leaving that channel for now. And this con just fade out like that. So what we have here is the outer rim. Um, and then we have this interim. And then we also had the channel back in here. And just to give this volume here this interim, I can give this a little bit of this tubular, uh, construction idea. So it's coming around like that again, as I mentioned before, Um, the here has a lot of tubular. Ah, structure to it. So I could take actually, we'll do first before even do that. Is this particular tube here this inner tube or interim? And our tube doesn't even sound right. Sounds like we want to be on a river floating. Um, but basically, these a little bit. And here, so you'll have I'm a little structure. I'll start to V and here and then maybe it'll. Why out here? So at a little bit of Ah, some volume in here is well, you can start to feel that so So again, just getting the feeling of that tube getting the feeling of the kind of the volume Um, you're going to see here. So now I kid you here with my darker pencil, And And remember this these things can kink up bunch up all types of, ah, shapes and forms. So this will be overlapping. Just trying to get this and then go back in. We're back in this ah channel. Well, typically be dark in there. You have something like that again that's going Teoh move out and eventually fizzle. And here, So, grandma yellow Aled, that just kind of blends and emerges and all that stuff in here. So I just kind of do a little blend of everything here to get that point across. You kind of see how those tubes air starting to work a little bit now. All right, so eventually, things get, um, on top here, some working with the tube or the outer rim. This will start to curb more organically. Let me go with my black since I started with that. So they start to curve back around and we'll eventually kind of fizzle out and here, like so And this will actually come back up around and then here and then sometimes we can even make out the actual canal there where the sound we eventually go into So this can kind of wrapped back around. This will come back up gently. This will kind of start to meet each other back in the middle somewhere. And then inside you got this sort of bull action going on. Get with my red here. And that's all kind of like a world cool effect happening. So your ears designed to kind of catch that sound and then, you know, bring it in and send it Send all those vibrations down into the ear. So that's the general purpose of the design and the body. The body is pretty sophisticated that way. Ah, a lot of these things I think we take for granted. But they exist. Of course, this is, um this is only outside, So this tube comes around, it's in front, and here it could easily start to bulge out. You can look at your own years and see how this tucks in to this comes, you know, out around in front of this, this comes around the side and this part of the year sometimes Well, bowled out, we'll see that from a side profile. Sometimes even from a back profile. Um, so it just really depends on the individual. But again, this is going to start to curl in, fizzle out. And because this is in front of that, you may even start to see Newsome cast shadows things like that happening in this part of the year. So something look forward, Teoh, as this starts to join, and this is separate. So this is separate from the face. So you may even see cash shadows here on the face underneath. Okay, so again, this coming down. So we have our ear lobe coming here. I'm gonna just make this a little bit shorter coming up and then this again kind of staging . There's transitions kind of coming out towards the surface of the year on the may even see those kind like rap around towards the front and here, but that it's just some good general structure, ideas for the ear, and you will see, probably even cash shadows here. So is his lobe connects, and this all breaks away. Um, you'll see that some cash shadows happening in this direction to. So if you are an ant, you know, crawling along, you'll be crawling along and you will go up and around down, up and around, back in, up in, around and out. So you kind of have that sort of journey, you know, around that ear structure. 29. Ear Perspectives Part 2: Now, let's look at the ear from the say a back view and what I want you to think about is this. I bumped that up a little bit. Is this idea of a bowl so we can take this bowl? Right. But instead of it being like this, we wanted to be ah, more vertical like that. Now, eventually, this was the head over in here. Okay, this is the outside of the head where that joins the skull, there'll be a little bit of a notch there. So you typically see this. So you're the bowl will come out, and then it starts to meet the ear. Okay. So again, the if you remember right, the ear has a certain thickness to it from the back, and we want to make sure we capture that. So, for example, if you see an ear and again, there are so many different variations on the ear. Uhm, I'm just going to do one. And then once we get into some drawing, you can start to see for yourself how dynamic this. Maybe so. Let's say this is our ear. So maybe towards the top of the ear flares out a little bit. So then we'll again do our thickness. I'm exaggerating a little bit here so we can do something like that and will say that you're kind of tux back in towards the skull. Little bit comes around. So we're seeing this here, right the thickness. And now we're coming around like so, So that come around the corner, and then it will start to tuck back in. Okay, Start to tuck back in, and then this structure right here, um, from the back is often visible. So you will see that bulge out and then back in and here eso this will kind of tuck curl around and then go back in and there So again, if we we're following the thickness, so will be the back of the year, the thickness and then over and around that and then on. So that's kind of what we're dealing with. Like I said before, um, the year going to see a ton of variations on this we may see in a year. And that starts up top like this. Maybe it twists out a little bit on, and then it comes back in quite a bit, you know, maybe even more drastically. It gets thinner at the bottom, and then maybe it turns in here on the bottom. You'll get something like that where the ear actually turns in towards the body, flips this way and then that outside does this sort of thing. So you just you never know. Again, it's We build these ideas. They're just general models and things you can use to draw your ideas down and kind of compare things to. So there it is. There, there, this is like so and then. But we're seeing that thickness again. Okay, all that is happening, right? So there's our thickness and there's our little bold. You could come out a little bit. It could come out a lot. So again, you'll just have to figured out once you start to see the shapes in front of you, All right. So again, this would be your No, you're back back for you. So let's do a front view here and just to elaborate on a little bit, Um, so you'll have this. I'll just use this line. This is there so that we had that idea that the front of the ear has a little bit of thickness to it. Right. So this can be the thickness here. But we know now that that's going to come around and then eventually is going tucked back in. Okay, so that will start to move back in to that space. This will come up in around. Okay, that will start to move back. And then once we curl around the corner here now, just kind of put my general quick construction of it. See here, Um, so this this may come up and then it kind of curve back like this, and we'll see a little bit of that thickness as we get to the back. So maybe see something like that. Well, getting curving back in, and then this park, Okay, it's gonna start to curve out and around. Okay, so this will start to come in, come out rather and then you'll little break out like this and then back in and then kind of get lost and fade out in that section. So come in like this again, you'll see this curling back end like so, and you'll see the why. So remember the that shape there. You typically see evidence of that. So that will be coming around and then maybe back up like that, and then this will start to kind of fade down and blend down in here. And then this outer edge will start to come down this way and then kind of wrap in towards the skin or the cheek area. So let's just kind of take this in and this fade it. Okay, so we'll pretend we don't have much of a lobe, all right? And this part will kind of come back around and in front, and it may wobble you, makes you some wobbling and there and stuff like that curl back up, and then you kind of get lost back in there. All right, So if I were to separate this a little bit, um can give this a little bit of our yellow, like so. All right, maybe give a little more thickness, so I'll bring that edge down in here, and then maybe it'll curl out like so, um, I can give it some volumetric lines. So kind of curling moving away. Ah, and then kind of back towards us. And here and then we have our interim so coming out like this and then all blending, fading, coming into here Penina course weekend ad, the overlapping the shadows, anything that may be kind of going on in there. And typically, you know, you'll it'll get kind of dark in there as well. So All right. So hopefully I'll give you a little more direction, A little more information, um, on the ear. So again, we got our volumetric lines, and here is well, but no sophisticated stuff, but hopefully we can start to break it down more generically into these simple, this kind of simple structure idea, and that will help you, um, you know, or at least give you a little more insight into how you can start to design this year. All right, so that's all I got for now. So let's look at the masters and see how some of these are used. 30. Master's Analysis Ear Part 1: Okay, let's start out with this Norman Rockwell here. Absolutely lovely piece. This is a zoomed in image of the original artwork, and we're going to focus on Ah, this figure right here on the right, the boy. And right away we can see. I'm just going to highlight around it here, the lovelies shapes of the ear that we have talked about. And we've got a little bit of a lobe there on the bottom. And we're seeing all of these. Um, you're the rims, the tubular sort of creations. So we're seeing that year come out in a tube like fashion like this, and we could see all the little different subtleties within that. But whenever you're trying to just understand and render or something, I mean to simplify it in the beginning. So we'll just keep that, uh, simplistic. And then, you know, if you really want to break it down, we can just kind of start with this c shape backwards. See like that on. Then we've got that angle, right? So, basically, I'd probably need to bring that in a little bit more. OK, so it was coming out and then a little bit further and here. So that tube shape, we can see it coming up the year and then it changes direction, right? We can see a little bit of that enter and as it moves around, and then it kind of fizzles out on the inside. There's not much evidence of the, um that kind of why structure in there we talked about or the question mark, we can see it starting to bulge out a little bit, and here, and they kind of moved down and kind of fizzle out again. So that's coming in here. We can see that shadow right here. And then again, it all kind of come in like this, and we can also see how this is starting to wrap down here. And then eventually it'll just kind of join besides, over here, we got that. I'll go a little bit darker here. We've got that sideburn coming down, and here and then we've got the cheek and a side of the face, and here, so again, we've got our Loeb. And once you get these genetic kind of generic construction ideas, then you can come back in here and chisel things out a little bit. better. Um, so Curlin. And then we've got, uh, that little bull action and hear that kind of sends that sound down into the ear. We can see the shading going on back in here, so Yeah, Lovely. Um, you know, example of some of the things we're working on. And it was fatter, tubas fatter. And here and then it starts to narrow as it moves back. And then the other year, um, we're getting more or less the same. So we're seeing the thickness in that ear, and then it starts to change direction here and come down and then pushes out a little bit , and then it changes direction, heads down. But again, see that tube action here really thin in here and then again just starts to fizzle out there. You see a little indication of that kind of the right side or the inside edge of that. Why? And then, of course, we know we've got the sideburns, which separates everything that gives you that side playing and all that's coming in front of that ear. So, yeah, just some good stuff to think about their If we look at the ear on the rights um we've got let me go with a more of a yellow something or something that will stand out a little bit stronger here. But what I want to point out with this one is we've got this direction going on with the mask of the face, right? That's the angle we're dealing with. But then when we come over and here is playing against it a little bit, so we're not going to focus on the top part of the year. I'm gonna focus where it's attaching right here, just like that. So we're seeing that sort of angle going on with the ear and I'll do one more layer here and just to kind of pay a little more attention to what's going on s so we could see a little bit of that bowl structure right here on the lecturer here so that both structure behind the ear like that remember, if we're looking at the ear from the side, I'm just again very, very generic. So that's the ear. Turned it up, right? Probably should have done that. That's the ear from the back. And we had that bowl structure. And then skull attach is to it like that. So we're seeing a little evidence of that here and and then noticed the shape of the ear that outer rim completely different. Then what we saw before, so weaken just kind of highlight around that. And they see a curve back into itself there and then come around. We got a little bit of a lobe there too, right? Something like that. So there's our outer room and then curling under, and then we can also see. Um, So there's our tube moving away from us here. We can see a little bit of that. Um, the ear, the canal, where the sound actually goes. We're not getting much of anything on the inside other than just a little bit of shadow here. A little bit of that coming down like that. So I think two good examples of the ears and certainly something we can apply to what we've already learned. All right. Another rockwell here. And the gentleman peering over the shoulder, perhaps observing, critiquing, getting ready to critique. Who knows? I'm just going to take a little bit of light value here. And what is kind of just six. Highlight this here for a second. I'm going to see that Loeb coming up. Ah, here. We don't see a huge difference between the angle. So we've got the angle of the face or the mask of the face here, and this is almost parallel with it. So we're not seeing a huge difference. There may be very, very subtle. And here, maybe there it's ever so slight. So we have that. But then this really look at that tier structure. So we and certainly see that we have that I could just even start with that egg, all right? And then we can crop off some of that on. Then we'll attach that Loeb and then coming out, and then this. We can see that there is a really good usage of these angles, so kind of very chiselled looking. And here and then once we get down and in here, things will tend to maybe round out a little bit more. So a really good contrast between the angular movement of the upper that upper tube and rim outer rim compared to the lower lobe. So again we can see that tube coming down and then wrapping back into itself here. Um and very thin coming around and then fizzling out. And here, but not really, um, it's only fizzling out because of what we know now, but this interim so that interim coming in front of all of this. So there was that kind of whirlpool action we talked about, okay? That kind of thing we had that little bit of Ah, no question, mark thing happening in here. But we got that whirlpool all that sound getting trapped and sent into that inner ear. Um, but yeah, you can see the that kind of why shape going on? It's not huge. You don't see. It's not pronounced as much. We can see it here starting to come out and intrude or invade some of that outer rim. And here and then we have that inter crease happening in here. So we definitely are seeing some good structure there and some of the things that we talked about So if we added a little bit of shading here to separate those a little bit, So this is just basically kind of getting blended in with this outer edge and that Loeb comes down so good. Good stuff. The eyebrow height here so that top of the ear lining up pretty nicely with that. Let me race this for a second, and I'll try that again. So again, top of the eyebrows, straight back and again, we're dealing with an angle with a face like that. So particular line straight back has kind of where the year begins and we really can't see the top of the head. But if we follow that around, maybe that would look something like that. So we've got a ear here, one there, one there. The back of that skull is here and in that neck, doing that sort of thing. So anyway, I think some good stuff there from Rockwell. 31. Master's Analysis Ear Part 2: are. This is a Pont or mo, and we got a much different perspective here and weaken autumn right away. See, it is somewhat of a back view, but obviously we got a little bit of that front as well. But let's just find the eyebrow for a second. So I'm gonna look a little bit at the placement. So there's the ridge of the brow moving back to the I. So if we draw a line straight back there, we can see that's pretty much the top of that here. So we've got a good placement there. The ear is favoring the front of the face. I am. We're getting mawr of the back of the skull here. The next thing I want to point out, and I would just kind of highlight this, Um, so we'll go above the ear here and then around, and then I'm gonna go back here like that, and then we'll go up and around that bottom. So we're starting to see a little bit of that structure we talked about. And look how ever so subtle. But look right here, how that turns into itself. So we've got the thickness of that to the outer rim. We can see that it curls around and then back into itself there. So I'll remove that so you can see it for yourself. So if you were drawing that out, you could easily just start with that, see C shape, and then we can turn that. See? So this is our That's your angle right there. That's your angle. All right, so is pushing out a little bit. So we're going up sharply here and then pushing out a little bit here and then turning that corner and then heading down and then end so all of that would be our tube structure. Here we can see the bend, the overlapping going on in that bend, and then it starts to wrap back into itself there. And then we're seeing that infrastructure come out a little bit in there. So again, this will be our tube, like So. So then the attachment is important, so we can just put that here and spade slap that ear on, and that's it. We want to make sure that that year has a back to it, and it does. So if this is our drum or are bowl shape here. We can see that's coming down and then attaching. And here, and that's evident through the shading there. Okay, so then the Skoll is taking over in here and those sideburns come around. So we're seeing that. So there is there so you can see a lot of that structure there. There's always a subtle indication that something is happening, and that's that's the key, you know, is getting things attached, getting one body part flowing with the next understanding the transitions and how they attach. All right. Ah, lovely. Raffaele here. And that's all agree that these ears are beautifully understated. So we're getting a little bit of ah, contour. I'll make that a little more obvious. And actually, I'll just go toe white here. So a little bit of a contour on the outside edge a little more shape on this one, maybe. Okay, so we've got that going on. Same thing with the baby. We're getting that contour and just kind of coloring around that a little bit, But on one year, we're getting a little bit of information. Okay, so we're getting the tube structure coming around, and then that just kind of fades out. Okay, phase out. Ah, here. We're getting a little hint of a tube structure. This is just really a contour. And over here on the bottom here, we're getting that tube wrapping around and a little bit of this shape happening at the bottom when that's it. And it works well because everything else is done so beautifully. So when we look at the eyes ah, the nose, the mouth on both the baby and the lady here, the quality of draftsmanship and craftsmanship here, the shading, everything is done. So ah, impeccably well that the years air understated. So basically Raphael saying, Hey, you know, I'm good even though I didn't do the ears. So there he's giving you the, um, the information in the details that he wants you to look at, which is basically the eyes, nose, a mouth, the shadowing, the delicate use of lines and all that stuff. Just incredibly beautiful piece here and again balanced all those lack of details and the ears are balanced with everything else. So just something to keep in mind. This is not really about rendering. I will do a course on rendering later on and shaving, but I just want to point that out to your attention. So let's look at some other things that we do see this beautiful placement. So we got the cheeks coming in front and then we had the side of the face and then moving into the jaw here so that this is in front the cheek, This is behind. And then the ear is joining behind the cheek and there and then the back of that skull is probably going to be in here. Same thing on this side. We're getting a little feeling of that cheek as it moves down towards underneath the nose that we've got the side here and then the ear joining back in there and probably that school again back in there. So the placement of that here is beautiful. Is enough information there to tell you where it's at? The baby's done similar. Similarly, we would get the cheek coming out in here, and then we've got the side of the head going into the skull and then the ear. So we knew that here is behind all of that. Was putting that ear basically on the side. We've got a little little scribble here of some hair. But also I think that's the artist's way of saying There's a skull behind all of this structure. Okay, so cheeks in front side And of course, that's coming back down and here to the bottom, ears on the side, back of the skull and all that. We can see the skull on the right side. Here, here, we've got the side. There's cheeks kind of coming down and here side of the head, and then that as well. So again, I think just a gorgeous piece here, even though again is very subtly done through the ears. There's still a lot of good information there that we can take away from it. 32. Master's Analysis Ear Part 3: all right. Looking at a T F. Hello there. T i e p o l o in case you're curious. And we're going now to something that has a lot more information, things we can probably latch on to here. So that's kind of jump in right away. And this just kind of highlight what's going on here? Make this tip a little bit bigger, so just kind of going around these contours a little bit. There were joining and coming down here. So a lot of going back and forth here with that contour. So a lot of, ah detail. All right, so we've kind of have highlighted the edge here, and I'll kind of go back over it. So we're looking at kind of a combination of being round and then very angular. And here Ah, angular. And then a lot of curving and flopping around in there. But we can see this outer rim here and curling back end like that. All right. And then we've got this interim. We can see that coming in and through starting to kind of bulge out here, but the bulging out is probably going to be in this section, but It's basically kind of blending here. And then curling back around came. That's just kind of poops out right in there. All right, Obviously, we're seeing a lot of this shading going on there, shading over top and here so that you understand that this outer rims in front. And then, of course, we have the where it goes down into the ear drum and all that. And here Shaded Probably nice. All right, so we've got this sideburn coming in here kind of the beard coming in front of everything just to push that year on the side of the head a little bit. The years joining about here, we could kind of see that placement even a little bit, perhaps even a little bit lower. But let's just kind of let me reexamine that. So basically, we've got the eyes tracking here. Eyebrow. Same thing. So this is all kind of coming up, right? I didn't see that before, but I see it now. Okay, Mouth, all this stuff is tracking in the same way. Now, if we look at these eyebrows where they change corner in the forehead here, we know this is kind of frontal plane this gets to that kind of angular plane that starts to move away, and then we get to the side. So I think if we follow this line up to the side and then come back to the side plane So the side of that box, if we were to box this out, would be in here. Look, how old That shading. And here these eyebrows and the crease of the eyes. A little bit of something happening here just to give us some landmarks. Enough information there to box out this head. We can see that skull is gonna be back in there. Okay, so that ear placed on the side of the head and this beard is saying, Okay, I'm gonna push you back to the side so we start to get a little bit of that layering. So again, you know a great example of the ear structure. A lot of what we talked about. I'm gonna take this away now so we can see it. But we can see to Scott a little bit of that. Loeb, your lobe that is dangling a little bit, but this is all Look at all the kind of the turns and kinks and stuff happening in here. So that's that angular part. And then it curves. Okay, Angular, uh, you know, kind of angular and there. But all that's coming in front and all that's curling back into you know, that whirlpool action there. All right, that's good for this one. All right, let's revisit the men a there and they any tea, man? A not money. And let's look at what we got. So again, a nice piece here. I'm going to go around the ear just so we can highlight it here. Really pay attention. What we have, you can see at the bottom. It's attaching there. So based just on that right there, we can start to see some of this air structure a little more clearly. And the things we can start to notice and take away would be, Ah, this outer rim. So coming around and let me get something a little bit darker here, So coming around and they're the outer rim now that hairs covering it all up. So we get a little bit of the sideburn action. They're coming in front, but the outer tube is here, and then it makes its appearance again. Down here, you can see it's already kind of fizzled out. And then that inner rim is in there. I'm gonna make that red. So we've got that interim bulging out here and getting in front of the outer rim. Okay, we're seeing the inside of that here. Little evidence of that kind of why structure in there with this shading, And then it all just kind of fizzles out a little tone right there, right there to push that here to decide. And, of course, we got the sideburns here, that air telling that here to get back. So I'm going to remove that now so you can see what I'm talking about. Okay, so it's subtle as it may be, we're still getting that kind of a long see structure. Okay, I can even do the egg, and then we can kind of crop that all. Okay, we know the sideburns and all of that are coming in and then kind of taken over. But again, we draw through that a little bit. Um, you can say that's all turning the corner. And here and then we've got that interim bulging out and then back in. You can see the inside of that. And here we can see a little indications hard to tell that sideburn or what? And thereby possibly that where it goes down into the year drum. So we had that structure bulging out here and then coming back in. And then this line here on the outer rim is making its appearance here. We get a little bit of a tube structure there, not much. And then it just comes down and kind of blends in nicely here. So we're not getting ah feeling of the lobe, and then we do get this nice staging going on. So we got the dark hair back here, and then it's a little bit lighter value and here and I think a lot of that is done to tell you the staging that's going on. And that's what we talked about several times with these masters where you have, you know, the cheek. And here, even though it's very subtle, we're seeing that little Rosie feeling we've got the side of the face is very subtle as it is here, and then we've got the ear joining in back and there the neck coming up and then that skull back in there. It's the skull back and there, and so that puts that ear in its place. All right, so I think that's enough for the Masters. I think it's time for you to put these ideas to the test for your gear assignment. 33. Ear Assignment: Okay. It's time for the year assignment. Now. For this one, you have a series of three minute poses, so don't focus on both years. Just pick one and then think about that lovely and sophisticated construction that happens . All right, now remember, the lectures and stuff that I teach you is more of a general model. Each year is different. Each face is different. So be sure to take a moment. Look at the ear, discover the basic features and structure that I shared with you, but also try to discover what's unique about it. And that's what you want to bring out. Each year has its own personality, just like we all do individually. Okay, good luck. I look forward to seeing what you dio. 34. Robert's Take Ear Assignment: All right. Welcome to my take here on the ears with three minute poses, I may have time to do one. I may have time to do both, but the key is really maybe to focus on one idea one construction of the year, and then move on. This is a Prisma color rogue or crimson red. And this Just go ahead and get started here. Front view there. So I just kind of start with this sea. I can see the angle is like that. And so I kind of go right into this upper tube so that upper tube now swings out. So it's good to start with that generic idea. And that's not so far from the truth. You know, we can kind of start there and then add on these intermediate the ideas and refined things pretty quickly. Now the bottom of this year comes down, comes in and loops or turns the corner and almost goes straight. And then we can see the side of that face coming in and see the joining right here and then the side of that face like that. So we have our tube coming in, and then we can't see much of a turn. We can see a slight tent of a turn back in there, and then we can see it turning the corner. And here, but very, very fen eso. We're seeing that channel pretty deeply in here. So that inner channel back in there up under the ear and then underneath, or the inner brim eyes coming out and we're seeing it but up to and go in front of this outer rim, Okay? And then we're coming in and kind of going up, and then it just kind of fizzling out in there. So again, we got this going on. We can see that nice deep dish in there. We've got that sort of bowl shape going on. You can see that the depth of everything back in there. So we've got the top of the year, and then we can also see some of that. Why shape going on as well? Um, as this, um, some coming down to the bottom of the year here as this joins, it'll turn up. We can see the back of the skull here, and then the sideburn is right in there. That's kind of nice. I kind of gives us a few different layers. Okay, so all of this is shaded and then moving down like that. So All right, eso this one, the faces turning down. So we had these construction lines of the eyes that are doing this, and we have the center line in the face like that. So then once we get to the side plane So if this is, say, my eyebrow line like that, then we're going to turn the corner and go back towards the ear. Okay, So, um, the ear maybe joining back in here, I can see that line. So if if we looked at the angle of that jaw like this so that year is behind that jaw, but very much and an angle like we talked about. So then I could do this C shape and here, and we can see the top of that tube. We can also see how it's turning that corner and going in. Okay, So, pushing back in to it, um, a little bit of an angle And here and then bumping out in this section here. So there's our outer one for now, and we can see that's coming back into play here and we're not getting much of a lobe. So this is just coming in and joining, and there so then we've got this inner rim coming out. We can see it coming in front of the outer rim and then kind of fizzling out in here So curving back, all that's getting tucked. And there's our little why shape We can put a little value, their little tone in the channel overlapping. And we're seeing that inter C shape and here, too. Okay, Right in there and coming down. And here and then they were getting that little hook and that little push out. They're so all of that. She did them turning back in, coming back down and here. So we're getting that little bit of a sideburn and front and here and in the back of the skull, my cheat a little bit back of the skull is in here. So we've got the ear joining down in here. We can see that jaw coming down, and then we've got the back of the neck and they're so some really nice layering with this one. We're underneath case we've got our construction lines like that So any time you're underneath, I'm not just boxes out, so we see it a little bit better. So this is the front like that. The center line is over here. Okay, so we're getting mawr of this side and less on this side. So this is coming over and then moving down, okay? Moving down on the side. So that's gonna push the ear pretty low, so I'll push the ear down in here. So let's do Let's do our egg shape like that. And then we can see the angle like this. So we got a little bit of this tube coming up Ah, and then looping out here pretty far. So we got a nice little curve there. That's where it's good to not have a generic here all the time, because each year they're similar in construction, but there are also very unique. Okay, so no two faces are like, I know that's nothing. That is ah, profound or new information there, but important that we always respect the individuality of each face. And here, So this is kind of tube coming around. And then we got our why and here so we can see that happening like so curving out and really taking over all of this and then into the side there. So we got our C shape here and then turning up there. They're so that perspective is going to skew a lot of that in there. There's our little little kind of bowl shape coming in front. So all of this, Ah, getting shaded. We're seeing that deep channel in there like so So the back of the skull. And here we're getting those sideburns that come down and there and we're seeing that jaw cut up in here. So that's putting the jaw in front of the ear. Very important to know that. And then we've got the back of the neck and the side of the neck and here, So some nice staging going on over here. And then if we come over to this side, we're getting a little bit of that, um, that side pushing out, that's about it. So aside, peace here We can really see the like, that mask of the face, the angle like this. And then this is turning in a little bit, um, for the chin, and then that ears kind of turning in with the jaw and then moving out. So that year, kind of following suit, But behind that, a very important. So we get our kind of egg shape, we can turn that into a C. I can see that the ear I'm really curves out. And then it gets a little bit angular and here, angular here and then starts to smooth out in this direction. We can see it curling around really nicely here, and it kind of fades out into the skin here, but that inside rim, the inside of that loop comes in back into the ear very, very nicely there. So that tube coming around thickening out right here, Kate Thick too thin. Nice. And Bolaji here. And then I get skinny, and then we're seeing it just kind of merge. And to and with this inner rim action, we're seeing a little bit that in her bowl. So we've got that. Why coming in here and looping back? And we're seeing that sort of shape pretty nicely there and then joining back up. Okay, so all of this kind of shaded in and here we're seeing our little Why in there we're seeing that shadow talked about. That kind of puts that inside a little bit heavier line. And here. And we're getting a little bit of shading happening here. So a shadow, all that shadow. So now the bottom of this year. So this is curling in. We're seeing that kind of tubular feeling right in here, That's all. Cash shadow. And we're getting a little bit of a lobe there. All right, So, jaw, um, coming in front like this, curving around nicely, very chiseled. I'm going to cheat just a little bit. So the sideburns here, we don't have much, but we see the hair coming in that neck back in there. So shadow All right, but, ah, a nice little piece there to study and work with. I think we can kind of see a lot of that layering going on. All right, so we have a back view here, so we've got our We can just do a little ball shape. They remember we had that feeling of that bowl in the ear, joining it. So if and then thin, that joins the skull. All right, so we can do that so we can put this little I'll put a line across and here. So we'll see. There's our little bulls and then on the right out focus on the right here, since it's a little more visible. So the years going around that bowl, all right? And we're seeing it push out a little bit, and then we're starting to see that thickness in that thickness is coming, Um, coming back down this way and then it kind of turns in or outward here and then back down this way. But that thickness And here, um, for that So all of this is just basically rounding and going back towards the skull. And we're seeing a join our little bowl shape and there, So the head hairline almost moving around that bowl shape, and then the school going up on this side more of a silhouette. But, um, the head has a slight lean this way so I can do it almost a line parallel, but slightly up. And then we can see the silhouette of that connection there where we're getting that bowl, and then we're seeing that bowl on the outside here and then that neck coming in so I'll just oh, ad a little bit of this thickness here, even though I can't see it. And then it kind of bends around, and then you're back in and under, and then we can even see the jaw there underneath and then this net coming in front. Okay, so All right. So that I would do it. So hopefully you got some good pointers there about drawing the ear. Something to compare your work too. 35. Congratulations & Final Thoughts: Congratulations. You did it. I really hope these lessons will enrich your head and portrait drawings. I enjoyed making this course and having available to you and I look forward to crossing paths with you again sometime in the near future. Okay, Take care. Bye bye.