Sketching Emotions - How to draw facial expressions roughly | Barbara Baumann | Skillshare

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Sketching Emotions - How to draw facial expressions roughly

teacher avatar Barbara Baumann, Illustrator & Drawing Tutor

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

8 Lessons (49m)
    • 1. Introduction

    • 2. The Quality of the Line

    • 3. The 3 third Method

    • 4. How to deduct Emotions PART 1

    • 5. How to deduct Emotions PART 2

    • 6. The Draft

    • 7. Adding Color

    • 8. Your Project

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About This Class

In this class we are focusing on facial expressions and how they change the human face. We are anaylising more in depth how emotions can be made visible in a portrait sketch. There are only some small changes in the face that can have a big effect on the overall expression of the portrait and tell a whole story about the person sketched.


At the end of this class you will know, which lines you need to draw to achieve a specific facial expression in a rough and sketchy style - a really great basis for realistic face drawings and a wonderful way to integrate emotions in your sketchbook.



We won’t need a lot of material for this class: a pencil and a sketchbook is enough. Or you can also draw with a ball-point pen or an ink pen. If you want, you can add some color as well – for example with watercolor brush markers.

T-Shirt: designed by Adeline Wall

Meet Your Teacher

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Barbara Baumann

Illustrator & Drawing Tutor


Hello and welcome! My name is Barbara Baumann. 
I am an award-winning illustrator and drawing tutor from Austria.
And I love sketching.

The idea of teaching classes on Skillshare comes from the bottom of my heart:
to get you close to drawing and to show you that you too can draw. I love to welcome you in class!
It's all about learning to feel the drawing!

For tips and tricks about drawing, subscribe to my weekly Newsletter here - full of drawing tips and inspiration.
I'd love to connect with you on Instagram.

See full profile

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1. Introduction: hello and welcome to this class. Sketching emotions how to draw facial expressions in a rough style. My name is Barbara Bowman, and I'm an award winning illustrator and growing to two from Austria. My focus is on book illustration. I enjoy expressing feelings through drawings, but I'm only doing life fashion illustrations, for example, where I'm deducting the characteristics of a human face on the Time Prussia. With only a few lines in today's class, we're focusing on facial expressions and how they changed a human face. Before we are sketching this lady, we are analyzing more into death how emotions can be made with a Blinis catch. There are only some small changes in the face that can have a big effect on the overall expression and tell a whole story about the person's catched. We won't need a lot of material for this class as catch book, and councils are absolutely enough or you can also sketch with a ballpoint pan, for example, or you can use an ink pan for this catching when applying color A T and off this class, you can take, for example, these watercolor brush Marcus, but you can use any other tool is well for coloring and planning. This catches at the end off discuss. You will know which lines and need to draw the chief a specific facial expression in a rough and sketches style, which is a great basis for realistic face drawings in a wonderful way to integrate emotions in your sketchbook. If you have never sketched a human face before, it recommended to have a quick look at these portray drawing classes where I'm explaining all the proportions on the guidelines for portrayed drawing or you jump in that the deepened dry out the techniques that I'm showing you in this class with me and go along with me. And the sketching Brose is because simply drying out without analyzing too much can be a very effective drawing methods as well. So let's start and let's dive into this fascinating topic together 2. The Quality of the Line: Theo. Quality of the line is very decisive, whether it's straight and full of dynamic or very unsteady and full of hesitation. So there are many ways to express with only one line, and we're using the warming up to get familiar with the tools that we're using in this class and also toe get a feeling for equality of the line and how we can apply the different stars off the line. Let's start with the pencils. My prefer pencil is a six B, as this one is a very soft Pantsil with a higher degree of Griff It the lines can be wary, light or very dark. One line can be so express, if this way a great pants off a shading as well itself. Tip makes it possible to draw very bright shades as well and get really dark, on the other hand, and that a way to get familiar with this panel is line drawing. There are so many different ways to draw a single line with a medium speed or very fast, with a lot of pressure, without touching the paper, the hand for stabilizing or with the this stands off the hand to the tip off the pan so that they had can't fully control the brush on the panzer or the contrary. The ham is very close to the tip and can put clear pressure on it or a super fast. You see, there are endless variations off one single line the influence, the overall appearance off the drawing a lot. One single line can tell a whole story already what it's drawn full of dynamic and determination or with lots of hesitation for fine details. I love using this mechanical pounds as its tip stays so fine. No matter how long I'm cross hatching, this pan is really helpful for drawing the fine details off a human face. But you can use a classical to be pans less well. After a rough pencil draft, I'm often using a water resistant impound, too great. An additional con dressed in a drawing. This one here is very fine. Sierra one has a thickness off 25 millimeter. So you see the cross hatching pattern is extremely fine and off constant thickness. A wonderful tool. You can vary the thickness of the lines with pans off different sizes, like 03 or 05 or this brush pen. The brush plan is brilliant. This well as its lines have ever riding thickness, so it's always a bit of a surprise when using it. It's thick lines can indicate the shed of, for example, and great. A lot of death and expression in the painting, the hand and the rest I lose and free force catching now, time to focus on faces in the next lesson. 3. The 3 third Method: before we start changing the position off parts of the face in order to expression in order to express emotions. It's important of a look at the neutral face, meaning a face where we can start from. That doesn't show any clear emotions. So let's call it mutual face. And unless we know how to draw the parts off the face in this neutral face, we can start changing these parts in order to express more and in order to express emotions . There were a lot of different proportion rules, and some are really hard to keep in mind. But there's one Gordon role that are really left to apply, and this is the 3/3 method, So this means that you split the face into three equal parts. The first part is the one starting from the general telling knows the second part is reaching from the nose, the bottom off the nose until the eyebrows and the third parties from the eyebrows until we had a hairline, let's draw a neutral face this way. I'm starting within the lips in other of the basis for the 3/3 so this ellipse won't be the final shape off the face but serves only as a basis for the three equal thirds defined with four lines. So I'm no sketching and neutral face this one here that isn't showing any obvious emotions . There are the four lines that have already sketched here in the paper. They divide the face into three equal parts, and our off Breashears help for defining the position off the eyes, the eyebrows, nose and mouth. I'm starting at the 2nd 3rd with the eyebrows, as there are always a wonderful reference point in the face. I'm only drawing the face roughly. The eyebrows aren't drawn, therefore were detailed, but only as thick, bowed lines. The bottom off the nose is placed on the other line off this throat, indicated by only its darkest parts, the nostrils and the shadow on the L. A. Wings off the nose. The position off the eyes is in relation to the eyebrows. They are close so far away from the eyebrows, depending on the face that we are drawing. In our case here, the eyebrows are extremely close to the ice. Remember, it's a sketch. It's a rough drawing, so we don't need to measure everything and all exact positions off eyes, nose and mouth. We don't want to dry photo picture, but we want to express a feeling with the Padres catch. So try to rely on your feeling When you're in position. The parts of the face simply give it a try. Have a look at the distance between I and eyebrows on the photo and give the dry how you estimate this position on your on the paper in your own sketch. For indicating the eyes. I'm using a very reduced, sketchy style, only drawing the appellate and the dark iris with the pupil. These are the darkest parts of to face, and these elements will be off big help when drawing facial expressions later on without getting lost in the details. When looking at the photo, these elements are the most striking parts off the I the dark apple it on the pupil with Yaris oriented straight towards us, the same for the lips and what they're focusing here in the dark parts, I'm only drawing the upper lip as it is the darkest part of the lips, as well as the dark area under the lips. Together with the Nostra's, these lines convey already a lot of information about the face. I'm using a mechanical pencil here for during the details as its tip is fine. The appellate piss dark here because it is Prodi roading, whereas their bottom lip is clearly brighter. Ditto this characteristic. But as they abroad routing the skin is shady below the bottom lip. That's one drawing a line below the bottom lip in this neutral face catches well. The entire face is framed by the gin, the cheekbones and the jawline, as well as a rough here. Skitch long straight here, starting at the hairline with a slight bow tow. Have a bit of a distance to this. Come as we're focusing on her face in this class. The hair isn't central here. I'm only indicating it with some waves. No details are shading. This is the draft for a neutral face, meaning that I'm not intending to show a specific facial expression with it. The eyes are in the relaxed state, and so is the mouth and Reese catching the entire face with ink. But he can leave. It is a pants of draft. This will. The basis for the Padres catch is already done, but it's about redrawing exactly these lines with ink. I pay attention to draw the inclines not too bold, as this would influence the entire face. Catch a lot. The eyes only consist off a dark line for the apple, it and the iris. With the pupil, you can leave a bright part in Yarris to indicate the reflection. If you want. The nose is indicated by its darkest parts. The nostrils and the lips consists of a darker appellate pinned, a shadow under the bottom lip. It's a very reduced kitsch, as we will only need these parts of to face for defining facial expressions in a quick way . Um additionally, adding a bit more William to this catch. With this ink brush, this creates a more sketchy style. There's, on the one hand, the risk to easily mess up the Padres catch with a bold line. On the other hand, when this line is full of dynamic, it can give this catch more expression. Let's have a look now what we need to change in the face to express specific emotions 4. How to deduct Emotions PART 1: with no a good basis for sketching emotions in her face. There, under some fine change, is necessary in order to express a lot. Is he here a selection of different facial expressions for you in orderto a broach, this topic step by step. Let's select this one because it this is very expressive and the more expressive and the more pronounced the facial expression is, the easier it is to detect strong lines in orderto sketch this emotion on the paper. What has changed when looking at the face of the girl. Now it appears where is scared like something in front of her is frightening her. The eyes are the most striking part off this facial expression. In the neutral face, the iris is partly covered by the apple. It first the arrows in the right Photo is clearly distance from the Evolet. This small change is very powerful in this catch, due to the open mouth and the different position off her head. The nostrils are much more visible, and the shape off the mouth has changed as well. Now as we are more aware off the changes in her face when she is frightened, let's give the dry on this sketchbook paper. So this is an exercise in order to learn how to express emotions in human fist. So please focus only on this topic. It's not about drawing this lady, and it's not about drawing a photo like picture off this lady. It's about growing her facial expression about it's about drawing her emotion. We're starting again with an ellipse tougher basis for the 3/3. I'm already preparing three ellipses because this is part of this exercise. We need to extract the lines off this facial expression, and this is feasible through repetition. The three Sarah Attar still are a starting point at this time. We need to be cautious when using them because the position off eyes, nose and mouth has changed. I do better capture this change. We refer to the standard neutral fresh proportions. Usually, we placed the eyebrows at the height of the second line here, but when you look at the picture, you see that they are raised. They are there for position, clearly a bath, this reference line. The eyes are wide open. There's a big distance between up religion hours. I'm only indicating the IRAs with the dot It's about finding out what is more expressive a little dot for the iris or a bigger circle. I'm going no longer nostrils, as we've just analyzed in the picture before the lips of the biggest size in this kitchen. Now, as her mouth is open, the shape of her upper lip has clearly changed. It is a strong abo. We are focusing on the darkest parts off the face. The mouth is open, which grates a dark areas well under her teeth. The shed or under her bottom lip is still visible due to the open. Most the cheekbones are more pronounced. They're reaching until the height off the nose. Approximately, the jawline is more distance to the geek bones. Because of her open mouth for framing her face, I'm again growing her hair with only a few lines to indicate the soft waves. The muscles on her throat are strongly wiz herbal. This time, when's catching them, I'm focusing on the dark areas off them. The pencil draft contains now breaches lines for defining the fearful expression in her face, the wide open eyes and open mouth as well as the race eyebrows. Let's redo these defined lines with ink. A good occasion, the underlying again, the characteristics off a frightened face. After our Padre study with the pencil, the inclines are clearly darker. Once an incline is drawn, it is very distinctive when drawing with ink. The evaluation, which line we should draw, is therefore more important than one. Drawing with the Panza in this catch was not focused on drawing. Those lines that differentiated scare the expression from a neutral face, the eyes, the shape of the mouth, the pronouns, cheekbones. But that's not enough. We need to go some steps further in order to really still the emotion. That's why redraw the same facial expression a second time. You know the procedure. Already based on the 3/3 method, I'm defining the position off arouse and ice. I'm not doing this catch again. The same sketch, the same lines, but trying to exaggerate the expression a bit more. But drawing the ire is a bit smaller, and the cheekbones a bit strong you to effect that you have just drawn the same motive. We feel much more familiar with it. We don't have to need toe analyzed Padre again in death before sketching. But we can focus on the selected lines that we have just sketched feeling familiar with the motive helps a lot to draw the irreversible inclines with more confidence. As the expression off, this emotion is strongly associated with the eyes and sketching the iris. Where is small this time in order to increase the distance to the apple, it's in this second sketch. It is already, well, Izabal that the hand has learned a lot about the facial characteristics off this expression . The emotion is clearly visible now, but let's go one step food and sketch her 1/3 time during this same motive. Several times will do magic with your hand, the same expression that's the basis and we know this basis so well. Now we can therefore really focus on the expression and extract even more expressive lines without the need to get to know the basics of to face before as the face is so familiar to us now. This time I'm not only exaggerating the existing characteristics off this scared expression , like the size of the eyes and the hours, but I'm adding further trades off this expression, like the lines on her four hat in orderto emphasize the raised eyebrows. It's an experiment, a simply dry out, which lines increased the effect of the facial expression and which lines aren't that effective. That's also a reason why we need to draw more versions of the same motive, because the very first sketch is most of the time, not the best and most expressive one. Comparing these three versions, you see already a big difference in their expression. It's absolutely worth the time to Diestel them most out of his catch but redrawing the same motive. 5. How to deduct Emotions PART 2: have a collapsed for you with plant of different facial expressions off the same lady. Only slight changes in her face change so much in her expression. Look at her eyes, her eyebrows, her mouth. It's a brilliant basis to learn detecting the right lines for a specific expression. Let's choose this expression now for our next face study. When we compare it with a neutral face or basis for all facial expressions, you'll see instantly the extreme position off the eyebrows. They are very close to the mill off the face and great vertical wrinkles on her forehead. We'll take this. Information is a reference point for this annoyed looking padre picture off the young lady as the first threes catches proved a wonderfully. The drop addition is key for drawing expressive faces. We will repeat this method for the annoy looking faces. Well, the bases are again. The three ellipsis split into three equal parts was the help of four lines. We are so familiar with the scared expression already off the last sketch, but we aren't familiar with this facial expression so far, so we need toe, analyze this one as well, and we need to look close, let it is, and we need to get to know which lines are important for this emotion. So which lines do we need to draw in order to make this emotion with a blunder? Paper? When we compared this face with a neutral face would instantly saw the difference off the eyebrows. Their possession is really distinctive in this padre here. That's why I'm starting with the eyebrows here by drawing them quite close to each other, oriented towards the nose. This time, the nose itself looks quite compressed, a swell. The nostrils are hardly was able. Another remarkable characteristic is the position off the eyes. They are extremely close to the eyebrows, as the eyebrows are pockets so tightly her mouth isn't in a relaxed state is, well, slightly open, but not as curved as in the scared face. The cheekbones are also read a prominent in this face, the phrase is framed by the long and straight. Here I'm indicating it again, with only a few ways and lines is the hairstyle isn't the focus here. The pounds of draft was not the first time that was catched and analyzed, annoyed, face more into detail. It was the sketch to get to know the facial expression and its proportions. The inclines that was catching now can be based on this analysis. We cannot exaggerate this ketchup it The Pantsil draft is our orientation for the exaggerated inclines. That's why I'm reducing the distance between eyes and eyebrows even more. - I guess you know the procedure now. It's time to distended information that we deducted from the very first sketch. I especially pay attention here to the effect that the eyes are nearly covered by the pocket eyebrows, the apple. It is partially hidden by the eyebrows now when during the same face again and again, it's about exaggerating the lines more and more, and about testing out which lines expressed emotion. Best for sure, you can do more than three sketches this well. You can sketch every facial expression 10 times, for example. The effect will be amazing as it gets so familiar with the facial expression that you internalize the most important lines. This enables you to quickly call these essential characteristics for a specific facial expression. That's a brilliant basis, and they're really Brucia's knowledge for quick sketches. This means that you're more and more able to drop what race scenes and emotions freely without reference pictures. Because your hand has learned the lines of defense Shal expression with this method, the repetition is really a precious way to enhance drawing skills quickly and considerably . I'm again Reese catching the draft with think that simply left, drawing with ink, but he can also use a ballpoint pen hero. Leave it as a pants of draft. You see, hear clear differences between sketch number one and number two because I'm drawing the vertical lines on her forehead much strong, and I've changed the shape of her face a bit. The empire faces not broader, but her chin is read. A small the draw Linus more pronounced this way in verse number three and grating a kind of mixture between number one and number two concerning the shape off the jawline in order to see if its shape really has such an impact on her facial expression with ink, I'm correcting the position off the eyebrows a bit. That should be clearly about the apple. It's off the eyes. This time there are 100 different experiments that can be done with only one facial expression, aiming to distended a maximum of information with a minimum off lines. But I'm stopping here because I think you know no well how this method works. These are now three versions off the facial expression, angry or upset. This time I feel like the sketch in the middle expresses this emotion best. The shape off the jawline has a really strong impact. It's part of the game to keep experimenting on, drying out different ways off, underlining the facial expression. You know now how you can increase the awareness of different characteristics that you need to know in order to catch these emotions, emotions and you have planted of material here in order to do exercises with these techniques. In the next lesson, we're using this inspiration picture for our final sketch, based on all those facial expression studies that we've now done in the lessons before 6. The Draft: I like the expression of this face a lot. It's a playful, the eyes are really eye catching and the loose hair one makes it appear so casual. But is this class is about Padres catching and facial expressions. We will leave out the hand based on the experimentation techniques off the last lessons. We'll take the inspiration off her facial expression by sketching her empire face without drawing the hand. Let's give it a dry. The beginning is the same. I'm preparing the basis for the sketch within the lips and the four lines to divide the face into three equal parts. But this time the position for the eyebrows is different. She has turned her face slightly to the side and therefore positioning the left eyebrow more towards the middle off the ellipse. For sure, this is only an estimation. You can measure the exact position off the eyebrow. A swell, but that's not your name. Off this exercise. We want to drain our I too didactic, correct proportions. Simply give it a dry and sketch it. You can correct it afterwards. Their lips is only an orientation when the eyebrow is placed too far away from the left side. You simply correct this in the next steps. Trust your feeling, and if your mess it up, simply redraw different rates. Catch because repetition is key for enhancing drawing skills. Her left eyes wide open, the iris clearly distance from the apple. It the right eye isn't clearly visible due to the hand. I therefore decide to sketch it close like she's blanking. Her mouth is packer, and only a small part of her lips is visible, especially the bottom lip is very different in its shape and more on the right side of her face because of the turn off her face. The draw line is clearly Whizzer planned, reaching until about the middle third. The jawline is a good guy island for a position off the year that is often it the height off, the eyebrows reaching until the bottom off the nose. But for sure, some have long ears, and some have short years on drawing a circle at the height off the nose and the years this circle serves as an orientation for defining the back of her head. In this case, the back of her head isn't really was able as her hair can be sketched roughly in this area without the need to draw clear lines due to the turn of her face and the Packard mouth, the cheekbone and the right side is more visible. At least I'm estimating this fact because her right cheek is covered by her hand. In situations like this, when parts of the face aren't we visible, you can either look at different expressions in other reference pictures like here Are they different from the first lesson and look for a similar poses here, for example. Her face is slightly turned or this one here, and she's puckering her mouth or the one on the lower right. But if you don't find what you're looking for, simply be your own model on and make a photo off the expression or you have a look in the mirror. It does not necessarily have to be exactly the same expression, but it should arms. Are you question In our case, it's about the shape off the right cheek. The hair bunnies catched in a very loose stylus. Will. I'm no speeding up this catching roses with think because you're ing This catching Brose is I got this feeling that this portrays catch isn't expression that I'm aiming for. It was a wonderful way to get to know her face and the proportions off her face and her facial expression. But I'm not really satisfied with the blanking I solution for her right eye. That's what I'm going to sketch her again. But integrating these learnings in the new drawing and re drawing some lines of this Padres catch with the Brush Kempen in order to increase its three dimensionality. If you don't have a brush pen, you can also read. Draw some lines with a thicker kingpin. It's very effective as well. Now, with this catch, we have learned a lot about the facial expression off this lady on which lines we need to draw in order to underline this expression. After this analysis, let's go one step forward and exaggerate these lines and redraw the same lady with a bit of a different approach for their right in the left eye. The first part of this catches the same. The Ellipse and the four lines does the basis for the position off eyes, nose and mouth. But I'm also keeping the drawing style off the left. I the same, a slightly raised eyebrow and the iris with a distance to the appellate. That's the eyes and the focus here and drawing it a big, bigger and darker. This time, the bridge of the nose leads me to the other side of her face toe her right eyebrow. That is not as a way to this. The left one, having defined the position off the right eyebrow, have a good guy like for the I Below. I'm going to draw it open this time, the right eyes a big closer to the bridge of the nose due to the turn off the face. I'm keeping the same pocket mouth style that I've sketched already, but I'm exaggerating. It's likely, but drying it's smaller than in the reference picture. Cheeks and Jolin are always a bit strong, a pronounced than in the photo, and very lose rough lines for her happen. I'm also keeping the poster of her shoulders because this is part of her playful pose and expression. At least for me. It's up to you how you're changing and adapting this reference picture. Let's redraw the lines with ink, then hands the contrast and make her face outlines Better way, Izabal. We're going to add color in the next step. Strong outlines are therefore helpful to keep the focus on her face. I'm not aiming to draw one perfect line, but I'm sketching roughly with this kingpin because focusing and he wanted only perfect line makes the hand towns and the lines are in this dynamic and powerful anymore. The most expressive lines are those that has catched freely without thinking too much, isn't it? When redrawing the eyes with think, I'm leaving out the part of the iris and pupil in order to indicate a reflection here. This makes the I more within the expressive. Usually I'm only indicating the nose. But drawing the Nostra's and maybe a bit off the shadow under yellow wings this time was catching the bridge of her nose. The better show that her face is slightly turned to the side. This those implies that the cheeks look different. The right side is more with symbols through the outlines and more silhouetted against the drawer line than the left side usually is shown in the first lessons and mainly focusing on the dark parts of to face when sketching it. When it comes to drawing the month on drawing, therefore, only the darker a polyp and the shadow under the bottom lip. But here it is a bit special due to the packet shape of her mouth. Its shadow under her bottom lip wouldn't explain the entire unusual shape off the lip. That's why I'm drawing the M Tal Ip this time, including the line between the lips. So there are no clearer rules when drawing only guidelines and experiments, always searching for the best lines to express the most. The brush man allows me to quickly indicate dark areas when the lines are thick, the implies shady areas when the lines are very bright. The indicated direct light on him in the great contrast, which is always wonderful, isn't it? I'm drawing the area under the here, one in the hair beside her faith, a bit dark to make the bride of parts pop out a bit more like the top off the hair bun interface with the big eyes, these around to different approaches to interpret that reference picture out of an endless number of approaches. Let's go once they've heard and now on to color them 7. Adding Color: working with black ink on. I'm doing this most of the time for my sketches, but sometimes is good. Don't dry a different method or dry out different tools, so this is now a good moment to integrate a bit of color. In our sketch, you can use the brush markers that, if you're ready, show near the beginning of thes class. Or you can use a different tools like the color pounds was. For example, I'm removing the graces off the pounds will draft a bit. Was the needed a razor? But you can use any a razor for this, or simply leave the pans and races for coloring the padre. You can use color pounds is or watercolor, for example. It's up to you and a wonderful occasion to test supplies that you aren't usually using for your sketches. I have here watercolor brush Marcus. They have a very fine tip, their fantastic toe blend, and we can great different shades in the Padres catch by using more or less water. Her skin is a bit darker under her eyebrows. I'm adding the color with America, and I'm landing it instantly with the brush. Taji. If it's off the transition to enhance the contrast. I'm using a darker pink watercolor called Fire Red. The color is really dark when I'm directly drawing the mark on this catch book. This would create a really strong contrast on the paper, and I'm not yet sure if I want this contrast and where I would draw those the arc strokes in this case, it is there for easier to take him more indirect color broach by applying the fire. Red color was the Prussian with lots off water. To make the color brighter, we can get darker, step by step. This way. I'm focusing here mainland background off to poetry as this was my first and not preferred but raise catch together noted face and using this catch to the Celtic Heller application of it to test the effect of splashes. For example, let's applied a learning off this color experiment, not refined. Those catch I'm again a raising the pounds of draft before using the water color, and I'm using a similar color ranges I did for the first sketch, starting with very bright shades to feel my way forward. I'm starting with the darkest parts of her face under her hairline below the eyebrows and under the jawline and login and some brighter shades under her nose. If he hides after nostrils and pink lips as this is eye catching and on the lines or funny shape on a few splashes. Because I like their affect on the left Padres catch a lot. That's enough of color for me. This time, you know is I'm usually sketching with black ink. This is already a lot of color for me. In the next lesson, I'm going to tell you more about your project. 8. Your Project: so great that have been with me in this class. It is a fascinating to extract the maximum of information out of a facial expression in order to express it with a minimum off lines, isn't it? But don't limit yourself with criticizing us catches and your facial expressions, because if you're not satisfied with a sketch simply re droid and to the same betray again , it's important that you have the joy and the pleasure of catching these expressions. This makes her hand lose and makes arrest lose, and you can draw much more powerful lines. If you're full of confidence on it should be fun and you should enjoy it. And these pleasure is Thanong visibly in your facial expressions, catches us well for your class project. I'd like you to have a closer look at this photo here with all these different facial expressions, chose to off these expressions and sketch each of them at least three times in order to internalize the lines necessary to distill and illustrate the emotion. Clearly after this exercise, it can also is catch this lady here by inventing the right part of her face that is covered by the hand feel free toe. Post your pictures off your drawings in the project field because I would love to see them really careers about them. And that would love to talk with you about them. You can also post them on Instagram. But please don't forget to tag me so that I can give you a feature and we can talk about yes catches. And it would be really wonderful if you could give me a little review what you're thinking about this class because your opinion is really appreciates to me. And I would like to integrate your ideas and your feedback integration off my next classes . So thanks so much that you've been with me in this class. I wish you a wonderful time for sketching on. By the way, if you're still in the mood for catching humans, I can recommend you to go on with the padre drawing classes. You will find the link down here, or you can choose a completely different topic, like doing an animal studies drawing cats, for example. So whatever you're deciding to do, enjoy it and have a good time. See you