How To Draw Heads & Faces: Drawing Facial Expressions To Convey Feelings & Emotions | Clayton Barton | Skillshare
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How To Draw Heads & Faces: Drawing Facial Expressions To Convey Feelings & Emotions

teacher avatar Clayton Barton, Harness the Power of Dynamic Drawing

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

    • 1.

      Introduction

      0:31

    • 2.

      Happy Expressions

      44:57

    • 3.

      Angry Expressions

      41:45

    • 4.

      Sad Expressions

      42:25

    • 5.

      Shocked Expressions

      43:21

    • 6.

      Assignment

      0:57

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About This Class

Would you like people to connect with your characters instantly, on a deep, and profoundly emotional level? 

Of course you do.

That's why we draw characters in the first place - to captivate the audience, and engage them. That connection is never more powerful than when our characters feel relatable; when they feel real.

One of the best ways to achieve this is through facial expressions. It's one of the most potent non-verbal ques that allow people to empathize with and understand your characters. It gives us a visual clue as to what they're thinking, feeling, and even planning to do next.

Facial expressions allow us to capture an outward representation of the character's inner emotional state.

If we're able to convey the emotions of our character's effectively, they instantly come across as more believable, but most importantly more human - which is vital in visual storytelling.

In this class, you'll learn some of the key facial expressions a character is likely to present, and an easy method for setting up the placement of the facial features, shaping, animating and drawing them to effectively emote - from multiple angles.

You'll also learn about range of emotional expression, as we exaggerate the shape, movement and composition of the facial features to display building intensities of Happiness, Anger, Sadness and Shock.

The same theories talked about here can of course be transferred over too any number of feelings a character is capable of emoting.

Here's what you'll learn:

  • How to draw facial features
  • Proportional relationships of the facial features
  • How to shape and animate the facial features to achieve different expressions
  • How to intensify emotional expression of the face
  • How to draw facial expressions on different angles

My class on Drawing Facial Expressions To Convey Feelings & Emotions is ideal for comic book artists, animators and anyone interested in character design - but make no mistake, the skills learned in these lessons can be easily transferred to any art medium and genre to enhance the emotional impact of an illustrated face.

If you're ready to bring your characters to life with new levels of emotional flair, there's no time to waste - start this class today and discover the true range of expression your characters are waiting to portray.

Meet Your Teacher

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Clayton Barton

Harness the Power of Dynamic Drawing

Teacher

Often I’m asked how long I’ve been drawing. The truth is I don’t remember a time when I wasn’t. I was like any other crayon wielding kid, the only difference being that I never let go of that yearning for artistic venture.

I still remember the walls being filled top to bottom with the felt tip scrawling’s of an artistically fiery five year old. Maths books filled with cartoons instead of numeracy, English books littered with more pictures then poetry. It went on and on and it never stopped.

My first love was Comic Books, my second was Video Games. Realizing that I wanted to build a career in both I spent most of my late teens immersing myself in constant study, practice and improvement to harness my skills in multiple fields. It was a ... See full profile

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Transcripts

1. Introduction: Hey, it's Clayton in this class. I'm going to show you how to convey emotion through the expressions of your character's facial features. Will be covering happiness, sadness, anger, and shock. And I'll be showing you the more subtle forms of these emotions as well as the more extreme versions. We'll also talk about how to draw these different facial expressions from a number of different angles. Alright, let's jump straight into it. 2. Happy Expressions: What we're going to be working on in this lesson is facial expressions. And we're not going to be drawing full heads for this. There's no need for that. Instead, what we're going to start out with is just some basic plot points for Willie I as a guide to go where the nose will see it in the mouth, et cetera. And we'll be covering a number of different facial expressions. I think we'll start off with one of the key facial expressions, which is the expression of happiness or a smiling expression. Although it might also be worth to just do like an idle expression for as well. So what does the resting phase look like? And then comparing that to one that is actually expressing some sort of emotion. So we'll just do a basic resting face expression first and then we'll work from there. And the way that we're going to set it up, I'm going to do a top row and a bottom row here so that we can fit as many on the page as possible. But we're going to start out with a line. We'll mark off the bottom of the line. And the top of the line. And the top of the line is going to represent our brow line. While the bottom line will represent our chin line in-between these two. If we remember back to how we divide the face up in order to get it speeches proportionally placed properly. We're going to divide the distance between the brow and the chin in half. So I'm just going to label this so that we know brow, chin. Then we've got the nose here, which sits between them. And then we've got mouse which sits below the nose. And in order to find the positioning of that, we're going to divide the distance between the nose and the chin into thirds. And we're gonna do our best. And when it comes to that, I'm not always perfect with it. I think that looks about right. We'll make some adjustments later on if we need to. Then of course, as for the eyes, well, they're just going to sit right underneath the browse at about this distance. Of course, we don't have the whole head there to measure out exactly where they should go. Since the I sit at the midway point of the overall length of the head, but I think this will do us just fine. I'll shrink that down just a little bit. Hopefully you can see what I'm working on here. Okay. All right. So we've got our facial features plotted out. Now let's loosely draw on the facial features. We don't have the polish these up. That's not what the exercise is about. It's more just learning how we can manipulate them in order for them to express one emotion or another. And remember that we're doing the resting phase first. So let's start off by drawing in the eyes, again very loosely and very quickly. So one thing that's really good to try and get into the habit of is actually working with a little bit of haste. And this is something that I learned much later on. But I realized that I did my best work when I was working with some speed behind me. There's two reasons as to why you would want to go down that route. The first one is because when you're working with some haste, you're thinking less. Okay, so the faster you work, the less time you have to actually think about what it is you're doing and that you would intuitively believe is a bad thing. But in actual fact, it's not, it's a good thing. Because after a certain point when you really figured out the proportions and you can use your eye to judge where the features need to go on the head and that kind of thing and their shape and whatnot. And you've done all that study. You don't want to keep thinking about it because what ends up happening, It's really interesting is the brain tricks itself. If you start to think about something that you already have learned and become competent at, and you're consciously monitoring what it is you're doing. Well, what ends up happening is your brain believes that in fact it hasn't learned it. That still needs to pay attention to what's happening before it can use those skills properly. So that's when you find yourself stumbling or not turning, not having the best result left on the page after you set out to draw something. Alright, so we've got the eye is drawn in there. We're going to try to keep thing. Symmetrical. And then we've got the nose, so we'll draw that out real quick. And it's also good to work loosely too. I think if you can work loosely, what that does when you combine it with the haste is you really do start to find your lines become more energetic and full of life. And that's something you want to preserve throughout the entire process from the beginning to the end presentation of your art. So we got the nose, we're getting a bit of a recap on everything that we learned about with the facial features in the previous lesson. We'll place in the mouth now. And we'll draw the opening of the mouth all the way out to the corners, which should align just short of the midway point of the fate of the eyes. And don't worry, I'm going to go over some of the basic proportions to keep in mind in just a moment. We'll place a little dash there to indicate the bottom lip rendering for the top of the chin in some lips. And yes, we will be doing some facial expressions presented on an angle. Wrap this lesson. You'll get the full, full dynamic experience when it comes to drawing facial features. Okay, cool. And as for the eyelashes and that kind of thing, we can very roughly scribble those in. We won't be too perfect with them. It's funny how these more rough lines that are a little looser can sometimes look better than when they're all polished up and inked with clean line work. I haven't worked out why that phenomenon is so yet, but seems to be the case sometimes, like usually I'll get more attention for my preliminary work than I will for my final work. In other words, if I posted online, I'm going to get more likes on my rough sketches then I will on the finished illustration of slaved over four hours. Alright, cool. So we've got our basic face drawn up here. Now, if we were to go ahead and start to mark out some of the proportional relationships between the facial features. The first one that I want to point out is just the eyes. So if we look at one eye and its width and the other eye, what you'll notice is that in-between them, we get about one eye width of space. Okay. So the entire head really from I measure it from one year to the other, is about five years wide. So if we were to stretch this out one more eye width, that would be the sides of our head or the sides of our ears. Really, I didn't like doing it to the edge of the face because I feel like it leads to a fat looking face. For my characters. I like to measure it from one ear to the other. Now, you'll also notice that if we continue this line downward, the nose is roughly one eye width wide as well. Okay. So it sits directly in-between the eyes and takes up that one either with space in terms of its own width. Now, as for the mouth, well, that's going to, as I mentioned before, it's going to stop just short of the midway point of the eyes. You can draw the corners of the mouth all the way out so that they line up exactly with the middle of the eyes. And keep in mind, that's the middle of the eye-opening, not the iris and the pupil which move around and can be anywhere. So we're actually measuring the, measuring them out to the middle of the eye-opening itself. As I said, you can you can measure it all the way out to here, but I just find that that's a little bit too long. Sometimes it makes the math look too wide. But that's our basic resting face. Okay. So it, it was a good one to just loosen up with. Now let's actually give how faces here, some expression. Let's draw out our next phase. Alright, we'll start with a line that'll run down the middle of the face. This is a great way to practice. Just use the proportional guidelines here to do your facial expressions. You don't always have to do a complete, an entire head. Alright, and then we'll draw out our brow line up the top. Simple enough, tried to make it symmetrical on either side. And then we'll lay in the chin. And we'll divide distance between the brow line and the chin in half. And then the space below it into thirds to find the mouth. Then we'll add in the eyes. Now you'll notice that I haven't actually plotted out where the ears are going to go. And that's because the ears really don't express anything. They just they just hear things. Some people can wiggle their ears around, but it's not really anything that you're going to end up illustrating. It may be in a really stylized, like if you're drawing cartoons or something like that, you might have a year's flapping around the place and whatnot. But, or perking up. Because maybe a character is aware, but you're drawing a realistic character. Usually you're not going to be observing that stuff because it won't be as exaggerated. Okay. I'm just going to write down a bit. Alright, so let's tackle smiling. When it comes to a happy looking face. What you'll notice is that all the facial features are affected except for really the nose when it comes to facial expressions. So it's really going to be the eyes and the mouth that we want to look out for. When we're smiling, when we're happy. And by the way, there's, there's degrees of these facial expressions that you're going to want to observe. And I'm going to show you an example of that in just a moment. But let's just say that we're looking at a character who's moderately happy, where I am going to start to smile just a bit. What ends up happening when you smile? Because we are stylizing things here just a little bit. We're not over-exaggerate with them, but we are stylizing them. Is your eyes start to arch a little more. Okay, so this shape is actually going to change. And one of the ways in which they will arch is the bottoms will start to curve upwards. And the AI will always start to close a little bit, right? Because it becomes relaxed. Good feelings shooting through the body when you're feeling happy. Happy, happy chemicals are being released in the brain that cause you to de-stress and to relax. And so I'm just making this up but I'm assuming that that's why your eyes would start to become, you know, more rested looking. And people can experience emotions for all sorts of reasons. You might have a villain who's happy because of something terrible is just happened. You might have someone who's happy because they're in love. Or you might have someone who's happy because they've just been given a promotion or something like that. In the context of story often provides the context of the emotion that's being felt within a character. So you can really add depth to the emotions and expressions that your characters are feeling, of course. Alright. Just going to move these ions a little closer together here. Yes, I'm cheating. I know. Alright, there we go. So we've got these, these arched eyes here. And the other thing that's going to happen is the muscles around the eyes are actually going to be affected too. Okay, so I'm going to add in just a few little details here to describe that surrounding an anatomy. And one of the key things is the muscle above the eyelid. On the underside of the brow. You'll notice that there's even though it's sitting on top of the bone and it's relatively hard. There's still a little bit of cushioning muscle here that helps to provide different expressions for the eyes. And when it comes to showing a smiling character or a character who's happy. By the way, these could very easily be sad eyes. It's just that we're going to be giving this character a smile to go with it. So it'll change it once again, it'll change the way we interpret this emotion. But usually what will happen is there'll be an upward angle to the brow, at least the underside of the brow that sits on top of the eyelids. Right? And again, you can see that the eyelids are pretty much sitting over the top of the eyes here, so it really gives that rested appearance. Then, as for the eyebrows themselves, what will happen is they will upturn. And they will also start to arch a little bit. So there'll be turned up a little bit in the middle, but they'll also be arched upward. Something that looks like this. And you can just play around with the shape of the eyebrow, play around with the shape of the eyes and tweak it. It doesn't have to look exactly like what I'm showing you here. This is how I would express emotions through my style, but you could certainly try out your own. See what you can come up with. The eyebrows are slightly raised and they're also arched as well. I certainly don't want to make them look like angry eyebrows. And that's the last thing I want for this expression, unless it's like a maniacal smile of some kind. So again, you can, you can mix and match all of these. You can certainly take these ideas and put them on top of different expressions for the mouth and create a whole completely whole emotional context. Pull a set expression. Eyebrows drawn in there. They're looking pretty good. Now we can go ahead and actually placing some eyelashes for these eyes, start to darken them up a little bit. You can see that I'm, I'm just scribbling them in there, trying to capture that rough shape. All right. There we have it. As for the eye, so the eyes look very relaxed, the eyebrows look relaxed as well. And you almost get this sense of happiness. Or at least the character looks chilled out. Just from the eyes alone. Eyes are very expressive. There's an entire ring of muscle that surrounds them and allows for those micro-expressions to unfold or to be shown on the face. So we'll draw in the eye and iris. And usually what happens as well when you're happy is your pupil will widen and you get a, you get some extra reflections happening in the eye as well. Leases what you can show just to really get the point across. Again. And that's because of the happy chemicals that are going through the brain when you experienced something enjoyable or happy. Alright, great. So we've got our eyes sorted out. Now let's tackle the nose. And of course, the noise is not going to be doing a whole lot. So we're going to get a lot of practice at drawing the nose here. From this particular view. The nose and the ears are probably the least expressive facial features on the head. Once you've drawn that in, we can now go ahead and lay in the mouth. The mouth is actually quite easy to draw in different facial expressions. Because it's just a line. It's just a line that runs from one side of the face to the other. But you want to think about is the trajectory of that line and the bend of that line. And also consider that when the mouth smiles, it's actually stretching. Okay, so rather than aligning with the midway point of the eye here, It's going to extend beyond that. But because it extends beyond the midway point of the eye, it's going to start to flatten out the lips, okay? Because the mouth opening is stretching. The lips along with the mouth opening will stretch with with it. And so they won't be as full. That'll become thinner. So once I've outlined the mouth opening and then go ahead and draw an ellipse. Remember that they'd been flattened out a little bit. They've stretched out with the mouth. Now they will likely still, the lips will still come down to where they should be. It's just that they'll look stretched because the mouth is now wider. And you'll notice that the mouth is still close to you because they're smiling, but they're not, they're not smiling so much that any teeth are revealed. In the next example, however, we will certainly demonstrate that and I'll show you how to tackle it. Okay, now, the other thing that you're going to want to maybe add in here is a greater indentation at the corners of the mouth because there's actually some little muscles that sit around the mouth. And you could think of them as precisely being the bean shaped muscles that are able to extend the mouth and make it wider so that they're pulling on the corners of those mouth there. But as the mouth starts to widen, the corners of the mouth curl up next to those and those grooves that we end up seeing become deeper at the sides of the mouth. You can certainly add those in there. Something else that you might see from time-to-time when it comes to smiling faces is a little dimple. Ok. Now you don't have to add in dimples TO characters, but you can, if you like, it really does depend on the character. But other than that, that's, that's really all there is to it when it comes to drawing smiling face. So try to keep in mind those observations that we've made, such as the watching eyes and the arching eyebrows. Now of course, what controls all of these facial features and their composition in any expression that they might come together to create is the underlying muscles. Now, you don't really need to know those underlying muscles and what they are. It's, it really just makes the entire process more complex in my opinion. But certainly understanding that the mechanics that are going on underneath the face in order to pull the features into various expressions is worth knowing. It wouldn't really help you draw them any better, but understanding it is certainly a good thing. What you do want to do, however, is visually become at least familiar with what the features look like in these major expressions. Because as you're about to see, once you do, you're able to push those even further into more intense emotions. So you might go from smiling to laughter, right? Smiling character, this is feeling kind of good to one that's feeling ecstatic. So let's push this expression even further here. We'll start out with the middle of our face again. Going to get a few opportunities to repeat this process multiple times, which is always good for practice purposes. And as I said, you could fill multiple pages up in your sketch book. Going through this very exercise, I would highly suggest that you do. It's going to not only become LA, to become well acquainted with facial features, but it will also allow you to be able to breathe life into the faces of your characters, make them a look alive. So we'll go ahead and divide the distance between the brow line and the mouth into two halves. Then we'll add in a dash for the mouth and another dash for the top of the chin. And then we'll play see in the eyeline. Okay, there we have it. Alright, so what's going to happen as this face becomes even happier? Well, not only might the eyes completely become arched, but they might be also close at some point, especially if the character is laughing really hard, we won't do that just yet. We'll Lum, was slowly ramp up this particular emotion. Alright, But here you could call this, if the first one was a face that looks satisfied, the next one might be a face that is full of joy, That's ecstatic and really happy. Alright, so I'm going to go ahead and what's going to happen is these eyes are going to almost start to completely close up. So everything that you're seeing in the previous example is being exaggerated. Basically. So quickly draw out. The shape of the eyes here. You can see that on top they're really arching now and they're also arching up on the bottom as well. So the reason for that is that the cheeks are starting to raise up. I think it helps to really try to feel the emotion. I know that sounds a little bit airy fairy, but try to feel the emotion that your character is feeling as you draw them out. And when you're drawing from that place, it'll I feel like it adds a little bit more believability. It's almost like method acting for an artist. Okay, cool. So once we've done that, we can go ahead and actually eyebrows some more as well. Let's tackle the eyebrows here. So in order to capture the eyebrows, I'm going to draw a line first just to nail their trajectory. So the biggest thing you're going to notice with the eyebrows and this expression is that they're raising up off of the eyes. Then they're arching up and then around to the back. Okay. So if you're having trouble drawing them, you can do what I just did, which is, start out with a line first, just to get an idea as to the direction you want them to flow in. Wonderful. Once we've done that, of course, we can add in some of the surrounding facial anatomy. And just as before, we're going to see that that top muscle, the eyebrow is almost going to start curving down on top of the eye socket where the top eyelid meets the brow, creating a crease in that area that we'll draw in some eyelashes around the eyes. We're just pushing the shape that we were working on before for the eyes and we're exaggerating it some more. You know, there's so many comic book artist who will draw the same face over and over again in the same idle position. And I think that when you're able to show expression through their facial features, like not just one expression, but a wide variety of expressions. It makes them so much more compelling. And it really sets you apart as an artist. Because I don't know if it's that At certain artists can't do it. I just think it's, they don't maybe think to do it. Like I said, it can make your characters look so compelling. What I'm also going to add in here is just a little bit of a fold underneath the bottom eyelid. And again, that's because the cheeks are somewhat coming up, but also that the eyes are almost squinting riot like they're starting to become seized up almost the muscles around them. Because of the excitement that the character is feeling when they're in this emotional state. And then it will draw the wide pupils once again. The IRS sitting around the pupils and the reflection in the eyes like so. Once we've done that, we'll lay in the nose just as before. The nostril. On either side. Little indentation at the top of the nose bulb. Again, that's all we need for the front view of the nose. It's a very, very simple. So you should, hopefully you'll be a total pro when it comes to drawing those noses from the front by the end of this exercise. Okay, great. So once we've got that placed in, what I'm going to do now is just gotta get my eraser around. And I'm actually going to, well, I'm actually going to give the mouth a little bit more room here, but first let me draw it in and then we'll see what adjustments we actually need to make. The top of the mouth really isn't going to change too much. It might raise a little bit just to reveal the top set of teeth. But it's still going to start out as a line. And this time the mouth is going to stretch out even wider. So it's almost, it's almost a lining with the shorter the end of the eyes this time around. Okay, so what does that mean? Well, it means that the lips are going to be even more stretched out around the opening of the mouth. And of course, the opening of the mouth. The teeth within the mouth are going to be revealed as well because the mouth is actually opening. The mouth opening is opening. Right? Okay, so I'm just going to sketch that in there like so. Now because we're seeing the mouth open just a little bit here. But that's that's more like the lips, right? It's not it's not actually, the teeth is still going to be clenched together, which means in fact that the face itself isn't going to extend, right? It's still going to the chin won't lower in order to actually open the teeth. So we'll just leave it as is. But what will happen is that this crease where we see the top of the chin, that's going to become much darker and much more significant because now it's being pressed riot against the bottom lip here. I'm going to draw an ellipse. And once more they're going to be very stretched out, even more stretched out than before. But it's the bottom lips and the top lip. Now let's talk about teeth for a moment because it can be very easy to draw scary-looking teeth for your characters that don't quite look right. One thing that most artists in the beginning will set out to do when they draw teeth is I'll draw a line straight across and then I'll draw in all the teeth. But as you can see, that immediately makes your character look quite terrifying. So what you wanna do instead is you wanna go ahead and just hint at the teeth, right? And usually the way in which I'll do that, I'll draw in a little bit of the divide between the bottom teeth and a top teeth around the sides. And maybe hint of it in the middle of the mouth. Ab. But I'll leave it at about that. Then I may come in if the if the teeth and really being revealed. And I might add in some gums up the top, but really there's not the opportunity to do that here, so I'm just going to leave it as is. And that's all you need to do for teeth. So you don't need to do anything too fancy for them. It's certainly the case where less is more for teeth. Now the corners of the mouth, no doubt going to end up having even deeper pockets. Now, we'll draw those in. And that completes us out of our mouth or our, our face. That's even more full of joy than the previous example. So now let's go ahead and draw out a face where we're actually seeing the mouth open properly so the teeth are actually going to extend, well, will now be set apart. Alright, so you can think of this one is like laughter. Alright, so go ahead here, place in the middle of the face, had in the brow at the top. And the cool thing about this is that because it's not a full head, we're drawing out. It's pretty low key. You can practice this and do a facial expression was in just minutes. And it doesn't require a whole lot of time. Just whatever time you've got handy. It's a great exercise if you just want to warm up, even got how eyeline drawn in just underneath the eyebrow there. Okay, great. So this time around, not only are the I is going to be arched, they're going to be completely closed. So something like this. And you'll notice, rather than curving downward, like you would see on a sleeping character, they're actually curved upwards. We might draw in some eyelashes around them. Just a second, I'm up a little bit. And of course we'll have some folds around the bottom of the eye. I'm a little so go ahead and place in the top eyelid a line indicating the crease. The top eyelid as it folds up against the underside of the brow. Okay, and now these are all part of the same emotional family. You could think of it as. They're all happy emotions. In a moment, I'm going to show you some examples of not so happy emotions. And how they can equally have a dial that can be turned up and down, right? So it's not just learning about the one emotion and how to draw that, but also how to push it even further when, when the time is appropriate, when the time comes that your character needs to experience a more powerful version of that feeling. Okay, cool. So now that we've done that, we can go ahead and place in some lines for the brows gaze. So now I'm arching up the brows even more here. So here we go. Great. So we've got our eyes sorted for the most part. Now let's go ahead and draw in the nose. Now, if it's a face is really becoming contorted, maybe the nose may move a tiny bit. But in this example, I didn't think so. Like maybe if there's a lot of laughter going on them, the nostrils might flare open somewhat. Some snorting might be involved. With this example. I think we'll just keep it as default. Then here's where the real change is going to happen. Alright, we're going to join the opening of the mouth. And it's actually going to be wrapping around that's top set of teeth like really stretching around them, the mouth. And going to go ahead here. And I'm actually going to drop the chin a bit just because now the jaw is actually opening. So we'll draw in the opening of the mouth. And we'll draw the teeth as well. We can't forget those. We'll start with the top set of teeth. Then the bottom set of teeth, which will only just be able to see down here, right? And then we might also be able to see the tongue in the back there. Some mouth is open now. Okay, cool. And of course, those pockets, there's little indentations at the corners of the mouth. Well, they're going to be super exaggerated at this point, right? So we're really going to start to see some folds on the face occur. I'm starting to realize my mouth isn't completely symmetrical, but that's okay. Alright. And might have some real dimple starting to occur on either side of that little muscle there. As for the lips, well, as I've said in the previous examples, they're going to be very, very stretched around the mouth. Even more stretch this time around. Sometimes they might get so stretched out, you can barely see them. You know, people have different lip shapes to them. Drawer in the bottom lip. There we have it. Now I'm just going to go over the top of the mouth that I drew in and start to line the lines for the teeth. Now here, we can actually start to maybe add in some divisions between the teeth toward the back of the mouth. We can certainly indicate the gums at the top. That's all there is to it. We can fill in the back of the mouth, show that it is indeed open. That is our first set of, You can call them emotional expressions, facial expressions. 3. Angry Expressions: Okay, So next up, let's do some more. Let's do some less happy expressions and something that's a little bit more angry. So starting from basically someone who's a little bit agitated to someone who's enraged. So, alright, start out down here. We'll draw a single line, top to bottom. This will be the brow line and the chin down here. And we divide the distance between the two of them. Get the nose. And we'll divide the bottom up into thirds. You can see once you get the hang of this, it's going very, very fast to actually set up the eye line here. Okay, great. Alright, so you might, someone, you might start off with, somebody is just looking a little grumpy. Right now, their eyes are going to narrow out the shape of them. The height is going to change so the tuples on the top of the ball will be fairly straight. Then the bottom is going to come up and almost squinting, like Hey, started, I really annoy me, right? And you can come up with little scenario is if, if it makes, it, makes it more fun for you, more fun of an exercise, different scenarios that your characters might be involved in. Maybe a conversation with another character or just some tasks that they're undertaking may or may not be really annoying them. Putting these emotions in contexts is certainly going to increase the believability of them. Alright? Now this will be one expression actually where we will see in somewhat of a noticeable change within the nose. Usually when someone's in a rage, their nostrils are going to flare up. The bull from Looney Tunes comes to mind. When I think about enraged characters. Like blowing the smoke out of it. Where he's blowing the smoke out of his nostrils. Steam coming out of the ears. Right now that's not going to happen at this point, but it's we're heading in that direction now I forgot to actually placing the eyebrows here. Again, we can use a single line to figure out the trajectory that we want the eyebrows to go in. Just to start off with figuring out the direction we want that basic eyebrow shape to go. Once we've got that drawn in there, we then got to do is follow that line. As we sketch in the eyebrow shape. You can see that I'm using, I'm sketching in all my single lines here rather than actually sketching them in. Sometimes I'm sketching them in. But I'm also trying to get some energy behind the lines that I'm throwing down. That's just a general drawing tactic that I like to invoke every now and then in order to push the energy of my drawings. Okay, cool. So we've got the eyebrows and course, we can bring those eyelashes to if we want. Now I'm, I could be drawing male character here. I could be drawing a female character. I've tried to keep it fairly ambiguous because you can apply these, these emotions to either roll all these expressions rather. Some people are really good hiding their emotions. They can have a completely different look on their face. In comparison to the emotion that they're actually feeling that gives nothing away. That's what poker card players really good at. The top of the brow is going to be fairly close to the top of the eyes here. Oh, sorry. The underside of the brow will be fairly close to the top of the eyes, which is in stark contrast to the expression that we had before. And you'll notice that. Pupil is also going to be less dilated. So it's going to be smaller. And you might also want to make the reflection within the eye look a little sharper as well, is to increase the intensity a bit. Remember that when you're drawing eyes, you don't want to leave them as just a square. You actually want to sculpt that out. And you want to make the bottom a little more rounded, right? Just a little tip. Okay, cool. So once we've done that, or how does the mouth shape appear when we're looking my drawing an expression which is more grimaced while it's not gonna be a happy looking mouth. The sides will be downturn somewhat. Look something like this. It's basically your typical bad our superhero type look very sort of generic. The sides of the mouth are going to be fairly downturned. Draw an ellipse. So very light outline for them. And I would say that the top of the bottom lip, up of the chin will actually push up against it just a little bit. It's something that looks like this. Now we have it. If you wanted to add more details in around an expression like this, you certainly could just think about the sort of character that you're drawing. I think that's the key. It doesn't require that much detail. Is an older looking character is a younger looking character. Is that a man? Is that a woman? Is it, is it a creature character? Could be anything really? And all the different little details that you're going to add in will ultimately determine whether or not that's coming across in the right way. We could also add in just a few lines underneath the bottom eyelid. Again, just to show that the contortion of those muscles sitting underneath the eye. And like I said, I think this is like doing an exercise like this is so much more valuable than getting you to sit there for an hour or two, drawing in the muscle groups across the face. This is this is in reality what you're going to be doing when it comes to drawing facial expressions. I think honestly sometimes that stuff can be a bit confusing in complicate the situation needlessly. Okay, great. So that is an example of an annoyed face like someone who's grumpy. You don't really want to push this particular characters buttons unnecessarily. So we'll shrink that down just a little bit. There we go. So next example, we're going to turn up the heat a little bit. So we'll start out by establishing our middle point. By the way, if I'm going too fast, there's heaps of opportunities to actually draw out an angry looking facie. I'm doing about four examples. So just take your time. You don't have to necessarily keep up with everything I'm doing here. All right. Got Chen bottom of the chin there. Divide the distance between the brow and the chin and TAF, bottom into thirds. And then add in the eyeline. Very simple steps. Great. Next up. Let's go ahead and well, I guess you could call this one. This wouldn't be all out anchor, but this would be, this would be getting toward this is like the transitional point. So teeth may be bad here. It's almost like when someone's about the gorilla you for doing something wrong. Right? So what's going to happen? Well, the eyes will actually widen a bit funnily enough. But there is still going to be. Now they're not relaxed. This could almost be like an angry looking surprised expression for the eyes. Right there. Anything but relaxed? They are wide, they're alert. I mean, it's, you know, it looks like a lion's eyes light like a predator, write some kind of deadly animal. As I said, you want to try to almost invoke a little bit of that emotion within yourself. Not actually feel enraged or angry or anything like that, but just get into that mode a little bit when you're drawing. Okay, so now the eyebrows are going to come down even further on top of the eyes, but you don't have to necessarily keep things symmetrical this point, you could have one eyebrow that's more angled than the other for sure, and that would work as well. Now, once we've got the trajectory of the eyebrow drawn in, you can lay in the shape. And you'll notice how far down it's coming on top of the eye. There we go. I'll just go over the top of that eyebrow shape to darken it up a little bit and make it look more defined, more refined. And as for the eyelashes, we'll add in a few of those. Now I'm going to make those pupils even smaller and see how terrifying these eyes look. Now. That's just not, that's not just angry. That's like, okay, get out of my way. Now I'm really annoyed. We go. The other thing I like to add into an angry expression is of course, these lines that are going to come up around the eyebrows. And these are of course, underlying muscles and taunting and squeezing together in order to create these creases within the face. Especially on a male character. I will typically really tried to push these a fair bit. I'm going to add in that under that bottom eyelid, wrinkle and fold. Even push a few more of those lines up around the eyes a bit. There might be turning the emotion up too much here. For the transition will affect, believe it or not, we can push it even further. So the nostrils would be starting to flare at this point just a little bit. You can imagine smoke blowing out of them. Then we're going to have the open mouth here. Let's go into look a little bit like this. You'll notice that I'm not making it completely symmetrical on either side. It's almost like a sneer. Honey, I must draw a lot of angry characters because I feel very comfortable drawing this particular expression. It's really the happy expressions that I have the hardest time where it's because something, sometimes they end up turning out really weird looking, scary, looking in some cases scary as an angry, even the angry face. Alright, so draw the lips around the mouth opening here. And we're really going to push that bottom lip against the top of the chain as it raises up. The chin itself might even start to get all wrinkled up and stuff. Then as for the teeth, I'm going to just start to indicate them on the science just as before. We're still not going to go ahead and create divisions between each and every one. You can go ahead and add in some gums at the top. And maybe even around the bottom. Teeth are being bad. Again, it's a very editorial gesture, I would say When a dog bears, it's t value. Alright? So that's, I guess you could call this the growl expression. Alright, we'll do another one here. And this is, this is what you would call angry. This is someone who is proper angry now. And not only will the test be bad, but the actual face itself, while the mouth itself will start to open up and the teeth will divide apart as we get closer to a completely enraged hog type of motion. Okay, So we've got the chin there. Then we'll make a division between brow line and the chin line. Divide up the bottom into thirds, then add in the eyeline. Okay, Great. So what's going to happen from here on out is the eye as they going to start to get angrier and angrier looking. And part of what we'll push that effect is the shape of the eyes as they widen. And the amount to which the brow comes down on top of the eyes to create a very strong layer of very heavy brow. Alright, so I'll sketch in the opening as Lee I first. Then what I'll do is I'll draw in the trajectory of that. I want the eyebrows to go on. Okay, So that's getting, its angle isn't really changing, but I do want to sit it even closer to the top of the eye here. Now that eyebrow is almost it's sitting right on top of the eye. It bringing it all the way down. And we'll do the same thing on the opposite side of the face. A big heavy brow weighing down on top of the eye. We'll do that on both sides. There we go. Once we got the eyebrows drawn in, we'll jump back down to the eyes. And you'll notice that I've actually extended the line indicating the bottom of the brow out over the top of the eyes. Sitting down very close to them. Defining the opening of the ions with a darker outline here. You'll notice I'm using a combination of straight lines and curved lines in order to get a nice vivid shape for the eyes. I'll add in some eyelashes as well. You'll notice that those pupils are getting more and more pinpointed as the character becomes possessed with ever greater levels of rage and anger. And could even make the, you could even make the iris smaller as well. Even though that wouldn't actually get bigger and smaller and reality, you may get smaller in your comic book or your stylized art work. When it comes to angry looking characters, it can be very effective. Then of course, the wrinkles in between the eyebrows are going to be pushed even further too. So we can enhance those further. I got a lot of wrinkles going on there now. Maybe too many. It's very easy to get carried away with them within an emotional expression like this. Once that's done, we'll tackle the nose. And here we again, we're going to see those nostrils start flaring big time. We're going to pull them up a bit. Because they're being pulled up. They're also going to create some additional lines around the nostrils, some additional wrinkles. Then we'll go ahead and now tackle the mouth. And here because the mouth is actually starting to open up, we will see the chin end up extending downward ever so slightly. And what's, what's interesting here is the mouth really isn't going to widen a whole lot. It's more dropping down, so it's extending vertically. So I'll make a selection just around the bottom of the chin there, extended downward. Now we've got the teeth. Just going to sketch those in. And then we've also got the bottom set of teeth, which I'm going to sketch in. Then I'll define the outline of the mouth with a darker outline, really solidifying its shape. And I will refine the outline of the teeth, the shape of the teeth. And here we are actually going to see the gums really start coming down into them. T's being bad. And remember you never want to define every single tooth. Only as the teeth start going back inside the mouse, do you want to start dividing them up? You can see I'm doing that there with the bottom set of teeth. Alright, now you might be looking at this and going, well, I can see that the mouse looks angry and I can see that the nose and the eyes look angry, but it still doesn't feel like it feels a bit fake. Like it's the reason for that is because there's still a few more muscles and wrinkles that I need to add in here. Because you face does start wrinkling up and creasing in different ways when you have a strong emotion like this. So one of the areas you'll find is that when you're very angry, you will get some, some creases up here around the nose. Especially as the mouth extends. In. This mouth probably could have been wider, actually. Okay. That'll do. Theirs are angry looking face. So now let's do a final example here and turn it, turn this emotion up. One more degree, will now see the face become extremely pushed to the limit as far as the angular motion is concerned. Okay, So we'll start out with our middle line first. Once again, brow line. You'll get really, really fast at setting this, this face model up. Especially after the end of today, after the end of this lesson. The brow line, we've got the chin line. And once again we'll divide that up. Mouse, chin and then eyes. Okay, so what's going to happen here? Well, the eyes are gonna be really crazy looking now. We're going to have a very strong, hard downward angle across the top of them. And that'll be the case on either side. That's almost like you want to really try to wrap the bottom and top eyelid around the eyeball itself because these eyes, you want them to almost start popping out or look as though they're starting to pop out of the head. Alright, so I'm just sculpting out the opening of the eye is here. I'm liking how the right eye is doing, but I'm not liking the left one exactly how I want it to be. There we go. It's looking much better. Now as I'm completely symmetrical, Leila. I move this one over here further. Great. Now we'll go ahead and create some pinpointed pupils there. Notice that I've placed them down lower, you know, either toward the bottom of the eye or the middle of the eye. Now, as for the brow, well that's going to sit right on top of the head here. You just shrink this down a bit. Make some more room for our face. Right? So the eyebrows are going to see basically right on top of this head. Will this face. I've got their trajectory figured out. It's just a matter of then placing the basic eyebrow shape onto that trajectory. So we've just managed to fit the eyebrows in there. We've got this very powerful muscle system underneath our face that really configures, that, configures it into a multitude of different expressions that we're able to use to be able to convey how we're feeling and what we're thinking. And most of the time we do all of this subconsciously. It's important not only that we're able to express these different emotions visually, but it's also important for us to be able to read them. And that's why it's great to show them within a comic book character. Because all of a sudden, if you know how to present the way a character is feeling or what they're thinking. In the depiction of their face, they become, they become emotionally relatable. Which is a very powerful connection that you can allow your audience to make with your characters. Okay, great. So we've got the eyes sorted out. Let's add in those wrinkles around them. I think the biggest change that we're going to see here is probably in the mouth. It's really going to drop down now and open. See the bottom eyelid really start to crease now as well. Because again, these powerful emotions, everything starts to seize up and scrunch up the nose. See that flare up even more now? I'm adding some wrinkles even along the bridge of the nose. I did that before, but really trying to push it this time around. Then finally we've got the mouth. Certainly isn't going to be a happy mouth. Dropped wide-open. Can see that it's extended or right past the chin there. Have the teeth bed. But the top set and the bottom set this time around. And I'm drawing the bottom set of teeth back into the mouth as well. Once we've done that, we'll go over the top of the mouth and define its outline, making it clear what it is we're actually showing on the page. Course, we're barely going to be able to see the lips because they've stretched around this big open mouth. Very dark outline up underneath the bottom lip. As the Chinn raises, creates a much deeper fold. It's kind of fill in the back of the mouth there to some shading, darker tones. And you'll notice that I'm not just using a straight line, by the way, to lay in the shape of the teeth. I'm actually using one that's somewhat jagged. See, I've done the same thing for the bottom teeth here too. And once again, that the biggest difference here between this example and the last example is this, that the mouth is now really wide-open. And what you're going to get is of course, some much deeper folds around side of the nose and around the mouth. You might also even get some up here. Now, the face is stretching big time. Cool. Might even get some wrinkles up around their chin. Again, a much more pushed, exaggerated emotion. That's an extension of the previous one. Alright, so we've gone from slightly annoyed. You just enter completely enraged. Right? And that completes our set of happy expressions and our set of angry expressions. 4. Sad Expressions: Next up we're going to be doing some facial expressions on various angles, various dynamic angles, you could call them. We'll start out with just drawing a default face on one of these angles and then transition into more, maybe a sad looking face. We could do, we could do a face that is expressing a feeling of disgust. Sometimes that's one. You also want to represent. All surprise or all three of those. There's a lot of different expressions we can experiment with here, but let's start with just a default one again, we'll do a couple of rows here. So we're going to start out with a line again, just a single line that's going to represent the front of the face or the middle of the face. Then this time around we're going to be looking at the head on more of a downward three-quarter angle. Okay, so we'll get the brow line drawn in here first. And then we'll get the chin drawn in. And then we'll define the distance between these two. Now remember, we're going to see some foreshortening take place here, which means that middle point division is probably going to be placed just a little bit lower than it would be if we were looking at it at a level, at a level view, then the bottom will be divided into thirds with the top third having the most amount of space. Second, third a little bit less. The bottom third having the least amount of space. Okay, So this basically sets up the perspective of the face that we're going to be drawing up here. Now, of course, we can't forget our eyeline, so we'll lay that in about here. Now let's go ahead and draw in the facial features. Now remember this is just going to be a default face. Okay, so the reason I'm gonna do a default face first is because it's a good place to start, just to give us a reference point for the expressions that we're going to start to add onto the face. Now this might be a little bit harder than the facial expressions we were doing before. But it's when things are hard, it means our brain is working in order to learn something new. All right, so we'll draw in the features real quick. Remember that all my drawing the eyes on this angle, it's the bottom eyelid that's going to have the most amount of curve plates to it, while the top will generally start to straighten out a little bit. That's going to certainly be the case in most of these expressions that we're going to be doing from this angle. Next up we've got the note is, well, actually let's tackle the Browse first. So the reason that I was thinking about the nose is because, well, the underside of the brown and those are kinda join onto each other on this angle. Drawing the eyebrow here, the far side of the face. Then. But the eyebrow on the side of the face which is closest to us. You can see I'm adding in little guidelines there. Give me an idea as to what direction the eyebrow is going to flow in. If we didn't like the shape of this eyebrows, I'm going to fix it up a little bit. Okay, and that's a bit better. I like to make some tweaks. Along the way. I'm a sculptor and a drawer. A drawer or a sculptor overdraw for once we've got the eye opening drawn in, will they in the eyelashes, the bottom set and the top set. As a little reminder that we're going to see more of the bottom eyelashes than the top eyelashes at this angle. Top-down three-quarter perspective of the face. And remember that the noise is, it helps to think of it as a block on my drawing, a face on this angle. So as I'm drawing it out here, that's gonna be thinking about it. This is great because we're going to be drawing some facial expressions at this angle, which means we're going to get some practice not only at the facial expressions themselves, but also the angle of the face when it's presented. In this view. There we go. Looking pretty good. So this angle is even a little bit more challenging for me to draw. And it really does get your brain working when you take the phase from that flat two-dimensional representation into something which is a little more complicated. Next up, we've got the mouth. We'll draw that in here. Remember that it's going to align with the midway point of either eye. And usually it'll have a bit of a curve to it as well. I forgot to put in that curve. I should have done. And will draw on the top lip. And we'll draw in the bottom lip. Cool. And probably this top I here are the far righ. I would say that that could be taken in a bit to sit behind the brow is remember that the eye is actually sit back inside the head on this angle and you get a good look at it. You're looking at the headedness view. So that was my mistake, but that's okay. Especially when you're working digitally, that's very easy to fix. And if you're working traditionally, you're just pull your eraser apnea. Do some read jogging. That's looking much better. Okay, cool. Next up, what we'll do is we'll lay in the iris. The people that will just about do it. A little bit more of a tricky wrangle. Worry. We're about to get a decent amount of practice with it, I promise you. By the end of it, hopefully you'll be much more comfortable drawing it. Next up, let's do a representation of the face where it appears as though it's sad or upset. We can start this out as just a face that looks a little, I guess you could describe it as melancholy. Maybe longing for something or thinking of a sad memory, or I'm thinking a sad thought, right? So let's go ahead and lay in our little setup for that. Now for this next set of phases, we're going to be looking at them from the downward angle in the next set, will look at them from the upward angle. So we'll start off by drawing in our brow line and the chin line. That will divide the middle of them into to lay in our mouth, then laying out eyes. And what I want you to really understand is that the facial features, they truly do sit on a fairly straight plane, a fairly flat plane like the woman drawing up here. And then just so that we get the eyes right by the way, I'm going to go ahead and just draw it in a plane around the far side of the face just to see where the brow would come down and then join onto the top of the cheekbone. That'll just give me an idea as to where to place it as high as we could even mark out roughly where they would go here. Okay, So it would following that angle as represented by the underside of the brow. Alright, but once we've got that drawn in there, what we can do next is go ahead and draw in those eyes. Now we're thinking about kinda sad looking melancholia eyes. The biggest thing that you're going to notice is the top of them. Because the top of them are going to go in a downward direction. Have basically sad eyebrows, sad eyes. That's how they go into look up in this little diagram. Then you're also going to have a completely sad mouth, but a fairly non expressive mouth, right? So that's what we're aiming for. But a little diagram up here for you just to show you where we're headed with this. Alright, so again, it's not going to be in an extreme expression. It's going to be one that looks kinda sad and a mournful. The biggest challenge here will be representing the correct shape on these more dynamic angles. But it is important to be able to show character emotion when you're representing the head in perspective. Because oftentimes the camera angle, especially if you're talking within the context of comic books or storyboarding. And the camera angle is, isn't going to be situated directly on the front of the face. I'm just kinda sketching them out here. It looks like that. And then once we've got the eye shape drawn in, we can go ahead and place in a guideline for the trajectory of the eyebrows. And you're going to be flowing in a downward angled trajectory toward the outer, I say something like this, might be a little bit challenging for you to get ride. That's why we're practicing this stuff in the first place. Now a lot of these exercises I'm showing you they're not only meant E to do once. Ideally you want to practice them multiple times over. Similar to the example I did in the last lesson. I showed you how to practice eyes as an example. There we go. And then drawing the eyebrow wrapping around the brow, the underlying brow form there. Great. Let's see. That's the I is taken care of most part. Now go ahead and run the iris. And the pupil. Start off with the iris here and then drawing the pupil. We go. You can really ramp up the reflection in the eye with these more sad looking facial expressions as well. Except what I'm going to do is draw in the nose and we get event now we can place in a little bit of a fold underneath the eye here too, if we wanted to. We've got the nose. So lay that in. Remember that's going to drop passed down the point at which we mark, initially marked for it. It's going to come back into the face. You want to be careful about bringing it out too far. Otherwise it'll make the nose look bigger than it actually should be. Something like this works well. And it's not going to change at all. It won't be emoting anything within this particular set of emotions. And as for the mouth, well, it's just going to be, it's going to be very subtle expression. It's not gonna be happy. Okay, to be sad. This guy to be very, very rested in some lips around it. Remember as well, when we're looking at the head from this particular angle, the mouth will curve somewhat around the cylindrical underlying form of the skull. You'll notice that it looks a little bit smaller when you're looking at the mouth on this angle. And the reason for that is because it's further away from us while the eye is a much closer. And so what that is, it's the effect of foreshortening. So that's kind of sad and not say happy looking face. Next up. We'll push that. What you could consider as like a face that's essentially crying. Or about to cry. Drop another example over here. Once again, starting with our straight center line, Jordan, the brow line, and the chin line. Divided into recently I align. Then the mouth. See me just placing those down really, really fast. Again, once you get the hang of this is very basic model that we're using here. You'll notice that you get quicker and quicker at laying down that initial drawing for it. I think that looks pretty good. Next, I'm going to place in some guidelines for where we'll position the eyes. Thanks, that's working pretty well. Now here we'll, we'll actually, we might close the eyes for this one. As the emotion intensifies. Remember that because we're looking down on the eye is here, the curve of that contour that represents the opening of the eye, which is now closed, is going to be pushed on to really give the feeling as though those eyelashes are wrapping around the underlying eyeball. A great. Next up, we'll draw on the eyebrows. They going to be dropping around the eyes. I'm giving them a little bit of shape. This time around. We go. Having them follow along that trajectory. I'm also going to be sitting closer to the top of the, I would say. This is this could almost be an angry expression. It's an intense one though, either way. In gray. And we'll also see there'll be a good possibility that we're able to see some of that crease created by the top eyelid and the eye socket. So we'll indicate that. But remember as well that the muscles around the eye are going to be weighing down pretty heavy on top of it. There we go. Next up, I'm going to go ahead and draw in. The nose. Might even tweak the eye is here. I feel like I want to really push the, the intensity of this expression and those ions are just looking way too relaxed. Let's draw in the nose. It's going to drop down. Ask the point at which we initially positioned it. But it will come back to about that point. Now as for the mouth, I think we'll make this mouth actually have a drop open. And this is where things are going to start to get fairly difficult for us. Actually. Remember the mouth wants to follow that curve. But at the same time it's also going to have its own shape to it as well. We're not just dealing with a single line here for the opening, dealing with multiple. And we've got to make sure that on these more dynamic angles, we represent the facial feature is accurately as we can to get across to the viewer that indeed features aren't flat. So we don't actually want to make those features look like they're wrapping around the form of the face. So I'm going to draw in the teeth here. And the bottom portion and the mouse. Now we've got the bottom lip, which we'll add in as well. And it will certainly be, once again, it's going to be pushed up against the top of the chin as it raises. And the I is still an area which I would like to really go ahead here and push in terms the intensity of the emotional impact that I want them to give off. Again, I'm not I'm not really feeling it. If you're not feeling like the right emotion is coming across or it could be more powerful. Go back and have a mess around with it. Facial expressions or something that you can really spend a long time tweaking in order to get them right. Even professional artists can have it hard time. There have been doing this for awhile. They even they can have a hard time with. David Fincher was talking about how he has a difficult time making his characters smile without looking menacing and terrifying. So it is, it can be a challenge. It can be a major challenge to get these emotions the right emotional impact within your characters to come across. Okay. I'm going to add in just a little indication of the bottom eyelid underneath. And you'll notice that it's being pushed downward. We can also add in some more wrinkles. Again, the more stronger the emotion usually the deeper the creases are going to be around the eyebrows, especially as the face creases up and around the forehead, especially on a sad looking character, you'll see some wrinkles occur too. And that can often make it an, a face look more emotionally intense. Just by adding in those few extra details. Okay, great. That's looking a bit better. That's a sad and upset phase. And once more, if I was to do like a little example of how the, the front of this expression would look just next to it. You'd have your eyes. Well, they would be closed. You'd have your eyebrows down like this. And then the mouth. Once again, is probably the most prominent area of this expression. Now, we can actually push this, this sad expression even further. So let's go ahead and do that. As an example. This could be like just a completely break down, like what you might call grief. Okay, So we'll start out with the middle of our face. Drawing the brow line. We'll draw in the chin line, line, line. Then of course we've got the eyeline. Hey, great. We'll add in a little indication to show me how far back the eye should come. Once that's done. We are ready to, once again, we'll draw in the eyes now they're still going to be closed this time around. But they're just going to have more wrinkles around them because this is like a really intensified representation. Of sadness now. And so with that comes an even greater emphasis on the way in which those muscles are really clenching up. The visual representation we get of that, of course, on the surface of the face is ultimately going to be the folds that we see in the skin. And you'll also notice that the eye is, they start to well up. They start to know if you've ever seen someone who's been crying for hours on end, their eyes, they start looking pink and swollen. And he can tell you can tell when somebody's been crying, right. So next up, we'll push the eyebrows even further here. So they're going to come right down over the top of the eye. And it'll almost appear as though, and it's an angry expression. But it's not, it's just really upset expression. We'll do that on both sides of the face. Okay, So head drove out the eyebrows. All right, great. Once again, we might actually see that the crease of the eyelid folding up against the underside of the brow. And we will certainly see a lot of folds within the skin start to come about. And really the same folds are going to be there. It's just that they're going to become deepened and more noticeable. Next. Then of course, the mouth, which is going to be at one of the main point of expression here. This particular phase. The top of the mouth is really going to push in wood. That's going to come down. It's going to be even wider this time around. Remember, we really want to stretch the sides of the mouth down around the bottom of the mouth. Because we're looking at the mouth from above. I don't want to see it curving around the underside of the underlying risk, a cylindrical form of the skull. Okay, so now both at the top T is n, The bottom teeth will be buried here. And what you also might see is that this, this top lip, sorry, this bottom lip is kinda come right up and it's, it's like pocket upright against the bottom set of taste in the mouth. Now I'm reshaping the bottom of the mouth to wrap around them around that cylindrical form. Trying to make that that skin around the signs of the math look toward mouth, opens up and does that more extreme expression. We'll draw the lips around the mouth. And now they're going, especially the bottom set of lips. Even though we can see more of them, they're really squashed up above the chin. There we go. And of course you could draw like tears coming out of the eyes if you wanted to, wanted to add that extra effect. Can't remember the last time I drew two years on a character. And I think I ever have come to think of it. Recognize it looks something like that. Okay. There we go. That is kind of sad, too. Extreme being extremely upset. Okay, now, the other thing you might want to add in here too, this one is, of course, just some folds around the sides of the mouth just to intensify the emotion a bit. But other than that, just about does it. So again, starting out with a standard face from sad to kind of upset to really, really losing it. So if I was to draw up a basic representation of how that would look from the front. It'd be something like this. So again, you'd have the closed eyes and then you would have the eyebrows, then you'd have the nose. Then you'd have this really upset looking mouth. Okay. Just re-size them. That is the face from the top-down three-quarter position. And its various sad expressions. 5. Shocked Expressions: So this time around, we'll do some examples of the face from the bottom up perspective. And I think will represent, Let's see, I think we can probably represent a surprise or shock, right? So again, a different set of emotions that you can start with a character that it looks kind of alert. They heard something behind them or, or near them, and it's got their attention. Then that might lead into being a bit more curious and wondering what the heck that was, then surprise and then shock, right? Just ramping up that level of emotion. Then that way you can pick one expression along that line of increased exaggeration. Okay, Cool. Says go ahead and just jump straight into it. I'm going to start out just with a single line as before, representing the front of the face. The face refer. And I'm going to draw in the brow line, chin line on here. We can lift that up a little bit actually to about there. And remember, perspective. It can be all aligned on the one plane. Or it can start fanning out. Depends on the perspective that you've chosen to go with. So go ahead and divide the distance between the brow and the chin up. But because we're looking up at the head now, that line, dividing line is going to sit up here a little bit. So this is going to be a really challenging one because we're going to be drawing the nose from the bottom-up perspective multiple times over. And I know it's kind of annoying and it's kinda difficult while we're trying to study expressions. But it's also fantastic because it means that we get that extra practice in drawing a nose on a more difficult angle. I can tell you the only reason that I can draw faces, and it's something that my drawings to get complimented on a lot is in particular the face is due to the fact that I just drew these things so many times over. And the reason I drew them many times over is because once upon a time I wanted to release it pre-recorded course on drawing heads. And I just couldn't get them right. They weren't looking the way I wanted them to a folder for the course and order dialog I was coming up with. I wasn't happy with. And so I would just redraw them over and over again until I got it right. And that's why I'm so comfortable at drawing them now, but we're basically doing the same thing here is repeating the process over and over again until we're completely comfortable, ideally. Alright, so we'll split up the bottom portion of the face up into thirds in order to find the positioning of the mouth. And then we've got the eye line, which is going to sit below the brow line. Drawing some little guides. Show where the, roughly the eyes might sit about, right? Wonderful. Okay, So first up we're going to have a character that's just a little bit alert, right? And then this more dramatic angle That's going to the angle that you represent a head app can intensify the emotion that you might be portraying on the character's face. I'm sketching this out really, really fast, but the same rules still apply that we went over in the facial features lesson where we were drawing them from these more dynamic angles. The bottom of the eye is going to now straighten out a little bit more while the top, it curves upward in an upward direction. So the eye is actually going to, well, it's going to be quite open. When it comes to this particular expression. The character is just heard something wondering what it is, What the heck was that it gave them up maybe a little fright, for example. Or maybe they're on an edge. Or maybe they've been staying up all night watching scary movies. So now the refrigerator goes off and it makes a big buzzing sound and it freaks them out a little bit. They're very alert. That's the kind of expression that I want to try to get across here on this particular character. And so what's going to happen is the eyebrows, as a result, is going to raise up a little bit. So it's almost, it's always going to be a surprise look. A bit, a subtle, a subtle look of surprise. Hey, there we go. And as for the top eyelid will see that creasing against the edge of the eye socket. We can also add in some eyelashes here too. We'll make this a fairly ambiguous face. It could be a female face, can be a male face will be fairly feminine at this point, I think probably because of the big eyes and the, the eyelashes, but of course, the pupils are actually going to become really pinpointed. When you're, when you're freaked out, when you're a little bit scared. That's what happens, is all of a sudden you become super alert. Well, in your, again, your iris or endure people will become the people in particular become the size of it. A little needle hall. Okay. Next up, we'll go ahead and place in the nose. Now remember this is going to be a fairly subtle emotion. And drawing the nose from this angle is always a little bit challenging. So what I'm going to do is just start out with the base, because that always seems to help me out. I'll draw it a nostril opening. And I'll get my eraser out here and just erase back some of the details. Some of those construction lines that I had on the nose bridge. All right. That's looking pretty good. I'll leave it at that. I'll quit while I'm ahead there. Then of course we've got the mouth. The mouth is just going to be pretty much arrested. Okay. So I'm going to be a whole lot going on with it or have it wrapping around the cylindrical form of the underlying skull. Following an upward facing curve. Lay in the lips. Okay, so fairly subtle expression, but you can see how much it changes the what the effect that it has on this face. Like it really does look like this. This character is alert and stroke, was raising the eyebrows a little bit. Making those pupils nice and sharp and small. And why adding meaning to get widening of the eyes somewhat. Okay, cool. So that's example number one. Move on to example number two. For example number two. We can call this one. We can call this one wonder, right? Because it's almost like the look on someone's face when they see something, but then quite sure what it is yet. Maybe they've they've walked into the kitchen after hearing that refrigerator buzzing and there's a green glow coming out of the refrigerator door. This would be the expression that they have on their face hint that particular situation. All right, so we're going to run the brown line, drawing the chin line, make IT division in-between the two. Right up the bottom portion of the face into thirds. The eyeline ranges just a few little guidelines there. Helped me position the eye is later. Okay, great. Let's do it. So the eyes are actually going to widen, quiet a lot in this particular example. Even more so before. By widen, I mean, I don't mean they going to stretch out along the horizontal axis, but rather they're going to grow in terms of height k. But still the bottom is going to be still fairly straight while it's the top that really arches upward. We'll do this on either side of the face here. Remember that we want to try to, in order to maintain symmetry, especially in these perspective shots, want to make sure that the eyes are sitting level with one another. On that perspective line that we laid out. It's very important. There we go. And the eyebrows are going to even, they can be even more raised up this time around. We'll draw that out. And I guess this time I'm just not having them come down at so far the middle to really raise them up in order to increase that look of wonder, that look of surprise. We haven't quite made it to surprise look yet. That little crease. The top eyelid will meet the underside of the brow. We'll draw in our eyelashes. I like so. And then here we're going to really see the, the iris and the pupil being exposed and k. So now that, that top eyelid is raised so much, now we're going to see a lift up off of the top of the iris. Okay, cool. So now that that's done, we'll draw in the nose once again. I'm actually pretty excited that we get the practice the nose so much from this angle because I need it. Make far too many mistakes drawing the nose from this angle. There we go. We're in the nostrils there. On either side of the nose. A great Alright, again, I'm going to quit while I'm ahead on that knows, it's doing the job. It's doing the job it needs to do at this point. And now the mouth, where the mouth is going to drop open just a little bit in this example. And drop open probably isn't the right way to describe it. It's going to open just a little. Okay. So just a tiny bit here. Lay in the top lip. And we'll also go and that's probably opening a little bit too much to be honest. It's going to bring that bottom lip up a bit. That's better. That's much more what I'm after for this expression. Alright, and we might see the top teeth being revealed here just a bit. That's about it. Okay. It isn't the look of wonder over I guess, alertness almost. If I was to draw well, if I was to draw both of these from the front, we'd have the eyes, the eyebrows, and the mouth there. For this facial expression. Well, it'd be a lot more subtle. You'd have this pretty much the regular eyes. There. Might be a little bit open. The biggest difference is that the eyebrows would be raised slightly. Abdomen. So, alright, next up, let's do a proper surprised face. Start out with our center line. Once again. The brown line. Drawing the chin line. Position the nose and the mouth. Then we've got the eye is drawn in there as well. But at where the eyes are going to sit on the head at this angle. Great. So this is going to be a surprise to look. This could be a happy surprise, it could be an unwelcome surprise. But what is certainly going to happen is the eyes are going to be even wider this time around. Okay, So they're going to really open up. So we're pushing it even further now. And I think that it's wonderful to be able to see exactly how far we're able to push these facial features as we pull them into different expressions. As I said before, when it comes to drawing the different expressions on these angles, you really want to passion and shape the features in a way that makes it less like they're just glued onto the front of the face and more like this, this three-dimensional sub forms that are sitting on top of the major form of the head. Great. That's looking pretty good. Next up, I'm going to go in the eyebrows. Now they're going to be even mean they're still going to be fairly raised up. So not a whole lot, it's going to change there. We could push the height of the eyebrows here, I guess. Let's go ahead and do that. All right. We'll define the shape of the eyebrows. Once we've got them loosely sketched in there, then we can draw in some eyelashes around the opening of the eyes. Something stylistically that you can do is you can actually darken the eye is when they're looking this surprised in order to really draw your attention to the, their intensity. And of course, the iris and the pupil is going to be even more exposed. Now, this is what can happen if, if you unintentionally don't place the iris and the pupil somewhat underneath the top eyelid is what you'll find. Your character looks surprised. There we go. So there's some very surprised looking eyes. Even without the mouth, we can tell that. Alright, next up, let's get that node is drawn in. And I'm just going to start out with the base of the nose here to begin with. So we should all be getting a decent amount of practice on the nice today. And when you creating this division on the bottom plane, you want to make sure you bring it all the way back to that center line. Hey, there we go. Great. That nose is looking pretty solid. Now it's time to move on to the mouth. And the mouth here, it's going to be I mean, got smacked right. Like the mouth is going to be open. But it's not going to be open in the same way that the, the sad or grieving face was going to be dropping open a little bit, a little bit more than in the previous example. It's not going to be super extreme or anything. I see this top set of teeth maybe just a bit because the top lip is still hanging over the top of the mouth somewhat. You'd certainly see the teeth going back inside the mouth here. You'll notice that the angle of the sides of the mouth different, right? So they're generally going in this direction. So keep that in mind when it comes to drawing the mouth on this particular angle. Because the door is actually swinging back just a little bit here. Alright, and now we'll draw the lips around the mouth. Now they are going to stretch around the opening somewhat, but this isn't really a representation of the mass where it's shown as being super wide open. Okay, So those those lips won't hang hanging too far open. I mean, sorry, those lips won't be stretched too much. Alright, great. That's looking pretty good. And I think we can leave it at about that for our surprised expression. Lastly, the next one we can do is what you might describe as shock. Okay, so an even more powerful version of surprise. I'll move this one over here. It nice and neat and tidy little presentation that we've got going on for our different facial expressions. Alright, so next up, we'll go ahead and let me resize this one. So we've got some more room here for our shocked expression. Alright, so LE now vertical line first, brow line, in line. Then we'll create a division here. I'll show us where the noise is going to go. So we'll place that toward the top. Tour in the mouth or a indication of where the mouth would sit. And then placing the eyes. I'll quickly plot out where those ions would go very roughly. And now we're ready. Okay, So this isn't going to be that different to the different versions we've done up already. We're still going to be seeing the same characteristics. So looking at eyes that are very, very wide open at this point, Hey, top eyelid and bottom-left eyelid is set quiet a fair way apart. Almost looks like the BI is a pumping out of the head here. I'm just going to take time to make sure that I'm nailing the shape, the eye-opening while moving on. Then we've got the eyebrows really arched up. You can just see the intensity of this expression increasing with every phase variation that we do here. Alright? Now because the eyebrows are raising, of course there's going to be more wrinkles on the forehead that we're going to be seeing. So if we were able to observe the forehead from this perspective that we're drawing up now, that it's certainly be the case. Just like with all the most dramatic versions of these emotions, that the face it crunches up in different ways. In order to pull the facial expressions into the most extreme, extreme expressions that the facial features into the most extreme, extreme expressions possible to really get that to come across. Okay, Cool. So next up, we'll draw in the eyelashes and we'll get those pupils and IRS drawn in. Alright, so they're going to be sitting right around the middle of the eye. And this is almost identical to the previous of facial expression that we just don't have it. Some slight changes, right? So the eye is a slightly rounder, slightly wider. Eyebrows had been raised up even further. So it's just a more intense version, really. Okay. Then we might indicate that top eyelid as it folds up against the underside of the brow. Of course, we've got the nose. So we'll draw that in. Hopefully you're all finding the nose a little more comfortable to draw this angle. You'll notice that it hasn't really changed at all throughout these different expressions. Really the, the nostrils are only going to flare out when you're dealing with a very angry, fuming character. Okay, great. That's looking good. And now the mouth is just going to drop down further. It's basically that the only real change or the change that we're going to see here. Same expression, basically just pushed to the extreme. Alright, so I'm just messing around with this. And I get the mouth to look right. I think abundant up a bit actually running on the lips around the mouth opening here. Getting out my eraser, trying to make it look the way that I want it to look. We've got that bottom lip which will wrap around the base of the mouth. And remember, we really want to make sure that when the mouse is dropping wide-open. The sides are going to straighten out a little bit. Now I want you to observe something here in particular as well. Notice in these bottom up perspective views that the top of the mouth and the upper walls of the mouth are actually the most reveal their case. They're going to be the longest, right? Whereas Oh, that's actually the same with the bottom down perspective. So there you go. I thought it changed, but it doesn't. It's really going to be yes, there's really only one wall for the mouth when you think about it. So you've got the top and then you've got the walls of the mouth and then you've got the bottom of the mouth. Really. Sometimes the bottom of the mouth can come down so far that actually do get what appears to be two walls, but it just depends on what the situation is calling for. Okay, so sculpted out the shape of the character's mouth there. I'll go ahead and they send the top set of teeth. And I might even reveal the bottom set of teeth ever so slightly. Let me can even hinted the tongue as well. Especially if the character is yelling or something. But again, if we were to observe these facial expressions from the front, is how they would look. So we would get the wide eyes, raised eyebrows, get that wide open mouth. This one would be, just be a less dramatic example of that. We've got the eyes, the raised eyebrows, nose, and the mouth, which is slightly more or less open. You can see it's a gradual increase. It's almost like an animation unfolding, right? That's what we've created here. So I'll just go ahead and resize this. And that completes our bottom-up three-quarter view of Let's set of expressions showing the character going from somewhat alert to outright shocked. Then we've got the bottom, the top-down perspective of the face going from kind of somber, kind of sad, to all outcry. Alright, so basically, that's how you represent human emotion in perspective and a dynamic range of views. 6. Assignment: Hey, thanks so much for watching. I hope that you enjoyed this class and that you got a ton of value out of it. Now, it's time to put what you've learned into action and we're going to do it through the assignment for this class. So open up your sketch book or a new canvas and your favorite drawing application. What I'd like you to do is to draw up a new series of different facial expressions. They might redo those we've already covered throughout the lessons in this class. But I'd also encourage you to venture out and to try to come up with some new ones. For example, you might draw the facial expression of fear or attraction or joyfulness. See how you do and when you've completed the assignment, submit it in the project section of this class for feedback. Alright, that's it. Good luck until next time. Keep drawing.