Draw Characters 107 Expressions and Personality

1. Draw Characters 107 Introduction: Hello and welcome to draw characters 107, expressions and personality. Now, as you may recall from one-on-one, we talked a lot about emotional value versus technical value in terms of character drawing. And this is really where we want to weigh in on the emotional value and get that emotional connection between the viewer and artwork. And one of the big ways we do that is by showing personality and expressiveness in our characters. In this module, we're going to go over facial expressions and how to add personality into our character works. Manipulating the eyes, the eyebrows and the nose, and the mouth to generate the expression in the emotion that we want. And also to give the viewer a clear feeling of how our characters are feeling. So I hope that you're going to enjoy this as usual. Please go through all the modules first to get a feel for the content. And then when you're ready, go through all the content again and do the assignments. I look forward to seeing all the expressive and personal characters you create. I'll see you in the lessons. 2. Dynamics of the Face for Drawing: Welcome to this first lesson of facial expression and emotion. In this lesson, we're going to look at how the face moves and the areas that we're gonna be focusing on when we deal with achieving good facial expressions. And of course as well, the emotions that are associated with him. And the first thing that I want to point out is that you don't really need to learn crazy facial anatomy, even though we've got this model in front of us here, you don't really need to learn this. Rather we want to learn the subtleties of using certain features of this, right? It's important to note that the face has a very broad range of movement. And usually a movement in one zone can impact the movement in another. So discussing the key areas we're gonna be focusing on. Number one would be the eyebrows. Eyebrows, obviously very pivotal in expressing their sort of appear around here in terms of that muscular zone. The second area that's pivotal for us to learn would be the eyes and the upper eyelids. The eyes and the eyelids. And then our third most important area that we will be learning is the mouth of the corners of the mouth, the movement of the mouth. The mouth and the lips. Alright? With just these three key areas and a little bit of extra knowledge will be able to express and be able to draw in a variety of expressions in our characters. Now the key thing to remember is that because there's a range of women, as I said, just now, when one thing moves, Julia fixed or that usually with the face. Whenever the mouth is moving, we're usually having some kind of skin movements happening in one direction or another across the surface of the face. Now of course, different expressions cause different movements, e.g. if the character was shocked, we'd see a compression here of the farrowing of the forehead area and we get some wrinkles here. Characters of course, can scrunch the noses and they can close their eyes, they can squeeze. They can have huge smiles that caused the cheeks to compress, changing the bottom Island, which is a very important key thing for us to note. So just kind of think very much about our principle of squash and stretch when it comes to the face. Because this is a location where we use a lot of squash and stretch as things are moving and squashing and compressing and stretching around. Well, right now, something else that we want to be aware of when we're dealing with the face is the range of mechanical movements on various elements. So the two major mechanical movement areas are one, the upper eyelid over the eyeball and the upper eyelid. I'm just drawing a basic hinge type of diagram here. The upper eyelid has a very broad range of movement over the lower eyelid. The lower eyelid doesn't really move. That much does move, but it doesn't really move them. I just kind of squeezes in when you blink and do things. And generally speaking that anytime the lower eyelid line here is modified, is once again, when the cheek is being compressed because the mouth muscle is moving up and compressing it. This is our number one big mechanical movement. And a number two big mechanical movement is in fact the lower jaw. So the upper jaw is stationary. Let's just draw it like that. But the lower jaw has quite a range of movement as well. And it's important to remember this. I know it's kind of obvious. A lot of this stuff's kind of obvious. But when we're drawing, sometimes we wonder why something may look strange. And sometimes you may draw the epidural moving or something like that. So let's just to be aware of that. And once again as well, applying squash and stretch to that. If the lower jaw moves, the cheeks, stretch, the face stretches and the entire length of the front of the face increases a little bit. So we want to take this into account and think about these two big mechanical movements that are happening right? Now. Some few final words before we start jumping into the detailed areas. You want to really try to shy away from doing basic expressions. So basic expressions like sad, happy, and angry. You will get a document with this module with a bunch of words that allude to or describe complex emotions, all of which are easy to achieve using our eyebrows, eyes and eyelids, and our mouth and lips. Alright? But you really want to avoid doing sad, happy, and angry emotions. You want to really think about how your character's feeling. E.g. optimistic, relieved these more complex emotions, and then tried to think about how you might animate their face in a way, draw their face and a way to express with these elements to achieve the desired look, to match the way the characters feeling on the inside. Alright, so we really want to avoid these default emotions of sad, happy, angry, and even neutral. I would put neutral anymore, there's no space but even neutral, we want to avoid neutral unless of course there's a reasoning why you want to use a blanket kind of emotion are very basic kind of emotion like that. Right? Now. Other things we want to keep in mind. Humans are really good at reading emotions. Humans are pro, emotion readers. Okay, that makes sense, right? Humans are professional emotion readers. Alright? And because of that, when we make subtle changes, these elements, the eyebrows, the eyelids and the eyes, and the mouth and lips. People will immediately perceive a different emotion. And as we move through this, you will see how these subtle changes have a major effect on how the expression is changed and perceive just by moving a Math line here, or an island there or an opera, you can really have a massive impact on the expression when you make small subtle changes to the lines and the shapes of these expressive elements. Alright, this is the basics of how the face moves. So let's move on to the next lesson. 3. Keys to Expressing with Eyes: Welcome to this lesson on keys to expressing with eyes and eyelids. Please just note before we start, this is not really a lesson on how to draw eyes, although we will draw a few hours, it's more a lesson on expressing with the R's are the elements of expressing with yours to help our overall facial expression that we will try to achieve with all the elements. Please feel free to refer to module three, where we talk about drawing the eyes. Alright, let's get into it. So the very first element that we want to look at is an element of squinting. And let me show you the effect that this actually has on the appearance of the life in a character. When I was first shown this, my mind was literally blown at the concept because I never realized the entire time that I was in error is so to speak. So typically when we draw eyes, we will tend to draw them. I've drawn some cartoon eyes. Yeah. We will tend to draw the iris and the pupil directly in the middle of the eye, more or less, right? So we'll do something like this. Okay? Iris and pupil. Iris and pupil, right? And if we draw them randomly, really crazy. The character looks like they're completely bonkers, right? So there's something clearly wrong with that character. However, the key or the secret that was told to me was that I should draw the eyes slightly squinted because it makes the character appear to be looking closely at something, right? Or looking at something, should I say that they're actually focusing on looking at a particular object. Right? So this idea of slightly squinting the r's makes the character appear to be alive. So let's add a little nose and mouth to each of these. Okay, borrowing the bunkers one because that one's just crazy. When we compare the difference 1-2, you can see that one kind of looks a little bit to zoned out as if maybe he's in shock or is being controlled by somebody. Ensure one is definitely contextually useful if you want to draw characters that are kind of spaced out or something. But two would be more correct with a character appears to be more reliable. They're focusing on something. They're not on drugs or something like that there the lab and we've captured them in a moment of time. They're looking at something, an object, a person or a pet or something, they're looking at something. And this happens in reality with us. Normally whenever we look at something as we'll zone in and we never, if this were our cones of vision poking out of our eyes, we would never look into separate kinds of vision. The cones always has a top view. By the way, the cones will always cross, right? As we look at something and we get a 3D view of that object, right? So we cross the cones of vision, join each other. Alright, so we're focusing on things. When you're drawing your characters nine times out of ten, you will want to draw the slight, the slight squinting happening to make the character appear that they're looking at something. And this small, tiny little detail will have a massive impact on the believability of the carriers and absolutely massive impact. All right, so that's our first thing that we want to keep in mind. We want to keep this idea of squinting, right? So it's our first tool. Squinting, slat squinting, of course, if we squint too much, character will look crazy. But then we have another tool as well. And this tool is dilation. The dilation of the actual pupils. Are they, are they really big? Are they really small? And dilation, of course, really just scales up and down based on the field that you're going for. So we can have really huge openness, open pupils, or we can have a really tiny, small little dilated pupils with big, really big pupils. Generally the feeling is that the character is either in an area of low brightness. So there's not a lot of light. The pupil opens up to allow more brightness in. But this is also used to make the character look cute, which you've probably seen this happen quite a lot. And it also is used to make a character look a bit goofy or softer. It softens characters little bit when they have a very big pupils. Right? But dilation, on the other hand, has some adverse effects. I suppose you could say, Well, the first one is really that there is very high brightness. So if the character is looking into something very bright or very bright light source or something like that. Additionally, where they're showing focus, extreme focus or extreme interest in something like they're analyzing something really up-close. Are they really looking at something and starting something? And then last but not least, where they may be shocked in a state of shock, shocked or in a trance or something like that. Alright, so we've got our number two element here, which is dilation. We can control dilation like many things in art. They're going to be three elements. Three, the rule of three as they say, where we have three big things that we can control. And when we work on those three big things, we can actually mix and match them to have quite a broad range of controls. And our number three thing, combining our squinting with our dilation, we have one more tool at our disposal. And that is eyelid coverage. Right? Eyelid coverage. And that coverage refers to over V iris and the pupil, right? Over the iris and the pupil tool. And we can separate our eyelid coverage into four examples. And I'm going to go through them now with the right. So the first example is that we have no coverage of the eyelid, has no coverage over the iris and the pupil. So let's draw in here. Do a quick rough of an eye. And we have very little eye lid that you can see. Some kinda just roughing it in there. And the entire iris is exposed. So we have whitespace at the top and the bottom and the sides of the iris. And this makes the character look like they're shocked or in a trance, that they're surprised that there is some reason. And this is of course, also helped by or assisted by their eyebrows lifting up as well. But basically their arms are fully open, trying to take in as much as they can see or something is happening to them. And this particular local lanes itself, of course, once again, to shock or being in a trance with being very surprised or something like that. Right? So that's our first instance where we have a fully exposed iris. You can see very little or you can't even see any of the eyelid. Okay. So let's just say full iris and little or no eyelid line. Just say lid line. Okay. And that's referring to the upper eyelid. Just to be clear, the upper eyelid coverage, right? I second example here is where we have partial coverage of the iris, right? There's draw another eyelid here. I again. Okay. And we will just partially cover iris and we'll leave the pupil fully exposed. And I'm putting the lid here. And this really is our neutral look, right? Let's just put in shock there. Surprise. For number one. Number two is really unusual. Look, this is, the character could be kind of partially smiling. They could be contemplated. There could be expressing a range of emotions. In this instance, what we're doing here is by ensuring that we're only covering a little bit of the iris. We're giving them a very neutral look in their eye, right? The very neutral look in there. Okay. Our third instance here is when we have a half covered in a large LID area. And we tend to draw the upper lid line a bit more flatly when we're doing this, right, you'll see why now. Okay, just draw that down like that. Take that as a little bit more flatly. And we want to cover quite a large amount of the eye, the iris, and we're going to cover the pupil as well. And because the lid is lowered, we see more the actual thickness of the lid. Alright. Where is the number two? We only see a little bit of the literal or normal amounts, should we say, we see quite a lot more of the lid in number three here. And this look is really either a tired look or a sultry look, which you would use on girls, a toddler, or a sultry look. And of course, achieving that effect is based on the context of the other elements of expression, the mouth and the eyebrows, right? So you need to really use this in a way where it's context irrelevant. Where you're expressing the mouth in a particular way and the arrows in a particular way. So the character looks tired and not sultry. But of course, if you added a slight smile to the character e.g. here I'm just doing a line that you can see the character starts looking a little bit more sultry. But if we do something like that and maybe add a few more lines, the character looks tired, Alright, so this is the tide forward slash, sultry look. And just remember that that is context-sensitive based on the other elements that you're expressing with. Last but not least, we then have full closure of the eye. Typically, something like that where we see most of the eye lid. And then our lashes will fan out a bit like this. And we can just indicate something like that. Just a little bit of the elbow poking through the skin. And really this is closed and closed. Could it be context-sensitive for many different expressions, e.g. sleeping, peaceful, praying, contemplatives, right? So these three elements, squinting, dilation, and of course, our eyelid coverage, allow us to perform quite a variety of expressions. Of course, working with the other elements of expression to allow us to create very deep and complex expressions for our characters. Now the key thing is remembering that you have these elements at your disposal and using them. Don't go ahead now as we move through this module, as you draw your characters and just not use these tools. These tools are here to be used. Now. You are now aware of dilation, you're aware of squinting, and you are also aware of the eyelid coverage. So we really want to go ahead and use and implement these keys to expressing with the eyes and eyelids. Alright, let's move on to the next lesson. 4. Expressing with the Eyebrows: Let's now have some fun with eyebrows. Expressing with eyebrows is great because eyebrows really are quite simplistic. They're generally thicker at the front and thinner at the back as they general structure in place. And some people would label the front as the head and the back as the tail. And in terms of the movement of the eyebrows, eyebrows generally have a movement of either being high, being mid, or being low. And when they assume these different positions, they change shape a little bit. So when they're high, they're usually an outward C curve. When they're low, they're an inward C curve. And then when their mid, they're kind of more of a tempered or straight C curve, just like that, right? So they're a little bit more stretched when they're high and little bent when they're low. Now, generally speaking, you can just illustrate eyebrows with simple lines or doing two lines and creating a nice shape. And before we get into doing a few different designs on these various heads, it's also useful to remember that one property of an eyebrows thickness can say a lot about a particular character. There are two elements that I'd like to tell you about with regards to this. So generally, when an eyebrow is thicker, this is usually seen as either a male eyebrow, right? Or a young person's eyebrow, right? And usually it's very good to put thicker eyebrows on young girl characters because it really enhances their youthfulness that they had these thick of volume is eyebrows and thin eyebrows, conversely, are seen as either a woman's eyebrow or an older person's eyebrow, right? So these are some very good points to keep in mind. Now of course, when we start combining our eyebrows and our eyes, and our eyelids, and of course our mouths, which we will get two together, then we can start creating the wealth of complex emotions. However, you're about to see how impactful the eyebrows themselves can be. Even on a face that is, for all intents and purposes, fairly static. All of these faces are copies of one another. So let's take a look at US utilizing our high, mid and low theory. And of course, adding in a little bit of exaggeration for the sake of odd, we might have been things in a way with a competent, but that's for the sake of drama and really emphasizing that expression. So starting here, let's start with a subtle lowbrow. And the character doesn't look too in price. It looks a little bit angry or a little bit upsets. Yeah, we can do a neutral brown. And as expected, that looks pretty neutral. How about a higher brow? I'd say that makes this character look a little bit more optimistic. Can we can bend the lower brow? This is a little bit exaggerated compared to reality. Character looks somewhat sad. We can goof ball the brown little bit. Let's put one down and another one up. And this kind of looks quizzical, maybe a little bit arrogant. And if we really enhance that angry brow shape, we've seen cartoons. This is once again a little bit dramatized. Character looks very upset here. If we do a lower C, the character can look quite focused as if they're really focusing on something or if there is, if they're being very, very serious. And perhaps we can put a slanted, surprised eyebrow. And this is more of a quizzical look. Not sure what's going on. Maybe they're curious about something. So you can see the wealth of expressions that the eyebrows can give a character, even if our mouth positions and neutral and we have no on detailing happening at all in terms of expression. The eyebrows are very clear indicators of expressions because they really just these solid values on the face. These two very consistent shapes, even from a far distance, can read pretty clearly. But the good thing about eyebrows at the end of the day is that there are actually very easy to illustrate. They're very easy to draw, and of course they're very easy to express with. Just always keep in mind that when you're drawing the eyebrows, you're drawing them on a rounded form, right? So obviously the head is round, even though the face is a little bit flatter at some parts, It's pretty round. So keep that in mind that you're drawing on a rounded form. And that is the aim of fun with eyebrows. I will see you guys in the next lesson. 5. Expressing with the Mouth: In this lesson, we're not going to take a look at expressing with the math. And as I do this example drawing here, we want to keep in mind how round the front of the mouth is. In module three, we did cover this, but I just want to remind us that an a top view here, joe will come out something like that. In a three-quarter view. It will come out something like this for it goes into the cheekbone and it is very round, it's very cylindrical. Well it's more or less half a cylinder, right? So we want to keep in mind that the structure of the skeleton is very much half a cylinder in this area. And that means that typically speaking, our mouth line is wrapping around that structure. Alright? It's wrapping around. So we never want to draw a mouth in a way that the math is kind of just like a flat line. Like that. Alright? And we want to make sure that we are putting the most focus on the lower line of the upper lip and making this read very clearly, right? So the line that I'm actually drawing here is the lower line of the upper lip. And if I add in a few other lines, we can get a full lips structure fairly quickly. But I wanted to be imagining that I'm drawing the lower line of the upper lip and ensuring that it wraps around the form correctly. Now of course, when we're dealing with lips, we can remember that we do have some other lands to put in here based on the angle of the character, of course, which would indicate some of the anatomy or the sections of the dynamic forms of those lips. But our focus is that we want to keep this line very dark, especially for the purposes of expression because this is the line that reads and the reason it's dark actually is the upper lip does this, this is a side view and then the lower lip comes down like that. And so a shadow gets cost generally were lit from the top. Shadow gets cost down here. And so it appears to be really dark. So that's kind of one of the reasons why it's quite dark. Now, moving on from this, the most important, while one of the most important features of expressing with the math or the corners of the mouth, which we want to indicate with little sort of alveolar dots, okay? You can indicate them in many ways. You can shade it or what have you, but you want to make sure the corners of the mouth read clearly. Let me draw in some eyes here, just some quick eyes. So in this instance, as I manipulate the corners of the mouth, the character, Could it be smiling To this, point them up? Or the character? Could it be fronting a little bit, a little bit unhappy? Notice the effect that it has on the expression or the character could be quite neutral, right? So here I'm adjusting the corners of the mouth to kind of just be straight out. So think very carefully about the corners of the mouth and where they appear to be, whether the mouth is open or closed, this would still apply, right? So the corners of the mouth or a key point, Let's get some nodes going here. First note, we want the upper lips, lower line to be nice and dark, right? Because this is what's going to help us read the expression very clearly. The second thing is the corners of the mouth imply expression, right? And this is also why you want to not do the very basic thing of going happy character, neutral character, sad character. Because yes, while the mouth can move in some of these positions, generally speaking, it's the corners of the mouth that are reading. And we also want to remember our roundness of the mouth. The mouth is always really going to wrap around. So with just a single line like this, yes, the character may look to be smiling. When we add in the corners of the mouth, we can drastically change that expression. All right? And usually there's three positions it down and neutral or up. Alright? So the corners of the mouth of very, very important. Now, something else we need to be aware of, Let's make this a little bit smaller. Is the movement of the jaw. And this is where squash and stretch comes into play as well. So we have a character here who is neutral. I'm just going to draw a neutral expression here. And then the very same character next to that character who is in perhaps let's say shock. They're a little bit shocked or what have you. We don't just want to draw a mouth like that is a basic indicator of the sharpness. We want to remember that upper lip line as well. But we want to imagine the jaw moving down to accommodate the expression. Alright? And so we need to indicate a significant drop in instances of these dream expressions, right? Because of course that mechanism inside the mouth is going from closed to open. Alright. And so we're going to see pots moving, right? We're going to see parts moving. And we need to be aware that we want to stretch the skin. So keep this in mind. It's a very easy mistake to make when you're taking a character, you're changing the expression, they're in shock. They're doing something really hectic with their mouths. And we're not moving the jaw line at all. Alright, so be aware that you want to move the jaw line when you're doing big open mouth expressions? Well, right? Now we also want to be aware that lips can move independently of the jaw as well. And we can get a bunch of different shapes happening with the lips. And then when you combine the jaw movement and the lip movement, you start to get the mouth expressions themselves. Let's look at opening the math expressions. Looking first at normal open expressions. So normal open expressions are really when our lips are kind of opening from various degrees. Without any major expression happening, maybe the character is breathing or thereabouts to speak. But we have this top of normal opening happening and we may see a few teeth in there, which usually we'll just indicate with a line also curving thinking of the jaw, just kind of curving around and we'll see some of the front teeth. Right? And we can then open this normal position to various degrees. So it could be quite open. Perhaps the character is about to take a bite of food. That's another example where we might want to use the normal open position of it more. And we simply kind of keep this top lip line at a fairly neutral position. It's not binding in any particular ways. And we're just opening the lower lip more as the jaw moves down. Right? So these are kind of our normal open positions. Then we get our circular open positions, which aren't things like kissing and whistling and making cooing noises and anything that causes us to have our lips move in a more of a circular shape. And what this causes is the lip line itself to kind of start moving in more of a triangular shape with the lower lip taking a very round shape. So this is more of a why does circular opening here almost like the person is getting hole or something like that. And then a kissing shape takes on more of an overall circular shape with a lot of compression happening between the lips and a smaller circular opening here. You can see I drew a circle in my planning for it so that I can really get that circular feeling happening. This would be more of a kissing circular shape. All right, so those are our circular openings of the lips. And a lot of the times there will always be a combination of the jaw and the lips moving together. But of course, kissing can just be the lips to a large extent with the slack jaw movement. Alright, whistling is very similar as well. Whistling and the kiss top of lips, the circular structure is really very similar. Then we have very wide openings, right? So wide openings are yelling, singing, showing teeth, grinning teeth in an angry way. Where we're really showing a lot of the interior of the mouth and the right. So wide openings. We tend to open the mouth really widely, well, obviously. And we tend to stretch out the top lips shape and the lower lip shape really wide gaps. In this instance we're doing a very big smile. A little bit smaller. Or if someone is singing, they'll have a very round look to the lips. Once again, I'll do a large circle type of feeling here to really get that breadth of the circularity happening. It's very round. And you'll see a lot of their teeth anatomy. In this sense. Probably there are the features of dentistry in their mouth. Very circular based, alright, for singing. And then a gridding the teeth. Top of the lip movement doesn't really have the jaw moving much. But the math tends to take on this type of shape, which I'll draw first. And then I'll draw in my upper lip line to reflect what is happening. They're right. But always ensure that the upper lip line overlaps. The lower lip line here you can see the overlap shape of the T, the T-shaped overlap. The upper lip line always overlaps the lower lip line. So keep that in mind. You always want these overlaps to show. So here we have normal opening. Here we have a circular opening, and here we have wide opening. Alright? So just going over that again, we want to keep in mind the upper lips, lower line to be dark. It's our main line read. So when you're doing your planning drawings, you really can just draw in this line and come in later if you want to. And open a little bit to being sure to adjust the jaw line, right, to accommodate the movement of the math. Want to be very aware of the corners of the mouth for expression, right? Make sure they're clear, make sure you can see them. Okay, they make a huge, huge difference. It's one of the key secrets, expressing what the math is, the corners of the mouth. Then we also want to be very aware of our jaw movement. And as squash and stretch related to that. And really just be logical when you're thinking about the squash and stretch, what is going to move while the skin on the cheeks is going to move, the skin on the side of the jaw is going to move. The mouth is going to open wider as the jaw goes to lower and so forth. So just really be logical about it. And then we want to be aware of these three types of opening a normal openings, circular openings, and wide openings, right? There's one more topic that we want to look at when we're talking about the mouth. Because as we know in the overview lesson at the beginning of this module, when one thing moves on the face, usually related to the math, other things move as well. Now of course, you can take this into varying levels of detail. But we're going to look at a key area of movement that really affects character's faces. And that key area of movement. In fact, let me just take all of these guys because I just need a little bit more space here. That key area of movement for us is the cheek movement. So here I'm going to draw this character's face out. And we're going to give this rough character drawing a big smile. Alright, let's keep things basic care. Because our eyes. So typically we might do something like this, refocusing on a darker lip line there and we putting in our corners of our mouth, very important. We're drawing in the lower lip line and we're going for a nice big smile here. Right? And we're going to adjust the chin a little bit and stretch out the skin as the character smiling. And what happens is we start getting this compression as these muscles pull this way. And this way we start getting a compression happening in the cheeks. Now, if I don't show this compression, we have what is called a fake smile, right? So the character's eyes stay fairly neutral. And the smile is happening with the eyes aren't indicating that they're affected by the smile. Right? And this is called a fake smile. And a lot of the movie stars when they're on the red carpet will perform a fake smile because, you know, they're kind of probably tired of smiling after while for the cameras. And they're not that happy anymore. They're not actually genuinely happy. So this is a fake smile. You can see this guy right here. He already looks like a salesman of some sorts. Like he's trying to sell you something. He looks a little bit sinister, right? But when we indicate the cheek compression by adding a line or adjusting the bottom airline, the smile starts to look very convincing. Alright, let's modify the outlines of this particular character. The lower, the lower eyelid line. And character now has a much more convincing and believable smile, right? It's a real smile. He looks genuinely happy. Because we've indicated this compression happening. Now, usually, depending on the style you're drawing, you may or may not want to draw in the compression lines that happen here from the nose, mocking out the front of the mouth, moving up and compressing as well. But you can, because it will enhance that smile because you're showing that, alright. The cheek that was once sort of more flat in structure, kind of like this, is now being compressed into this bowl section. And it is now much rounder. Alright? So be aware of that. That is one of the key things that we want to do when we want to show real smiles, that the cheeks are in fact compressing. If you don't do the cheek or compression on the smile, the smile looks fake. And because we're so good at reading expressions as human beings and we're so good at reading the emotions from those expressions. Your viewer may not fully realize it, but they are. If you haven't drawn in these lower lines, something about the image will tell them that it is a fake smile, right? And if that's not your intention, you don't want to have that detract from the quality of your work, right? So we go back to using older buffalo. This is one of those little things make a huge amount of difference. I think in general, a lot of things in art, or lots of little things that all balled up to make really impressive and useful works at the end of the day. Alright, so that is pretty much that for expressing with the math. Let's not forget upper lips, lower line to be dark the corners of the mouth and how important that is, the normal circular and wide openings. And of course, our cheek, cheek compression occurring here, particularly modifying the lower eyelid line a little bit in a graphic scenes. See you guys in the next lesson. 6. DEMO Drawing Facial Expressions and Drawing Emotions: Welcome to this demo lesson on facial expression and emotion. And we are going to be matching the facial expressions to the keywords below and trying to get them as close as possible so that we have a convincing emotion from the character. What I'm doing here, this particular exercise is something you will also be doing in your exercises for this module to help you kind of stretch your facial expression muscles so to speak. So let's dive right in and as they get into it, you'll see that it's not a perfect science. You have to mess around with stuff until you get the exact look that you're going for. I'm going to start here with worry. And I'm drawing this in kind of more of a cartoony style. So we can emphasize the expressions, just make them a little bit more dramatic. And I'm starting off already kind of drawing the eyes at a slight tilt, just a very slight tilt. I don't want to mess with the anatomy too much. So they're kind of down a little bit. And she's worried, but she's not sad. So I kind of wants to See if I can have her worried expression read. So we're gonna give her the typical sad kind of art bronze. But I think we're going to give her a neutral mouth. So if my math is more neutral, I don't think that she would look that said she would look more concerned. And here I'm having her look to the right. It will give us normal eyelid coverage. Yeah. Just want to fix this ombre app. Right. So she's a little bit concerned. And then we have to think about her mouth position. So we want it to look worried. Wrap that around, but we're going to drop the corners of the mouth and down. She doesn't look particularly worried there. Now the key thing to remember when you're doing facial expressions is the most subtle little lines can make all the difference. She looks a little concerned with. I think it might be that her eyebrows are just not at the right angle. Right. So I'm going to mess with those. And see let's lower the eyebrows. And they're tilting up, but they're not going to tilt up too much. And then we're going to see if she looks worried here. Let's try opening her mouth up a little bit and seeing what that'll do. I'm going to flatten the lineup just a bit. Still curving. Open mouth up, just a tiny bit. And she does seem to be a little down. I'm not quite sure if I'm getting the worry vibe from that. I think Let's adjust this eyebrow. So even here as I draw this, you can kind of see like subtle, subtle changes of angle. Even can change the character's expression a lot. So we don't want you to look said we wanted it to look worried. Right? And let's get these corners of the mouth to read a little bit better. She does seem she does seem fairly worried now. I think I'm just going to move her mouth position a bit. I'm not convinced with that math. So let's go at it again. Want to keep it more neutral. So it had the corners of the mouth not quite pointing down. They should kinda looks like she's smiling little bit, so don't touch that. And I think that's kind of a little bit of worry. She doesn't look super worried. I'm thinking to myself what would make her seem more I'm more concerned. Just want to add in a top lip line here. I really feel like if we bring the brow line down, not quite angry, but bring it really close to the island. That it will make her seem a little bit more worried. And I would say that it does look like worried to some extent. Seems reasonable. Right. Let's do in all right, so immediately when I think about what in all might look like, what comes to my mind is wide odd mouth in a circular plan, we were going to have to drop that jaw line. Actually. Let's just compress these layers before we do that. And high eyebrows. I'm just gonna get the eyebrows in there really high. And we're gonna see very little lids. Because the odds are going to be really wide open. And I think we will put the pupil rod, put the iris right up there. In fact, I wonder if we want to have space above it. It's C. Alright, so we're opening our eyes really wide. She looks pretty an oral ready. And I imagine her mouth kind of taking on this shape, will have to modify her jaw line, Jeff, just now. And you can see here, if I don't modify the jaw, it's kind of harder to buy the expression. So we're going to come in here and we're going to have a bit of squash and stretch happening on her face. Don't wanna change the shape of a face too much. Maybe just make this come out a little bit more and come out a little wider and get a corners of the mouth. They don't line up super Nazi there, so I need to change that so that they at least flow together. Well, I think we can make this just a little bit wider. Seems that I've drawn some of this on the wrong layer. We'll just do the math again. No big deal. So in all she's in or something. Just see. Yeah. We've got to remember her lower jaw is moving down. So I've made it just a little bit. Why did they fix a bit like a robot? Just move those irises in just a little bit. In fact, I'm going to tilt just the opposite section of her brows up just to kind of emphasize her expression a little bit more and get her teeth and just ECC curves. And I think I'm not feeling the all that much with this particular iris setup. I mean, I want her to be in or she must be old like her eyes are just super wide. So I think here by keeping that space above and below the iris, we're really going to get that feeling of all trying hard to keep it in there. Maybe we'll give her a big, big irises. Almost like the iris is subconsciously kind of hinting at the viewer that the pupil, the pupil is opening as wide as possible so that she can take it all in. Right? She's in all. And we'll see very little eyelid in that instance. Okay, so she's kind of gospel, liberal like, you know, she's in all do I feel that this is she's kind of in or do I just think that we need more squash and stretch happening on the face. So in this instance it would be stretch. And I don't want to change her face shape too much. I've put more of a straight line. They just now I want to give a bit more of a whoops, that's to shop. Just a bit more chin. As we do that. Right? Nothing. She's fairly in all kind of wondering to myself. Does she feel like she's in right now? It's kind of enhance some of these lines a little bit. I think she does. She's like, wow, Okay, cool. Let's move onto tired, drawing her tired. Alright, so we're gonna do just kind of a neutral position. And we want to overemphasize. Well, no, not overemphasize. We want to emphasize the eyelid coverage. So there's quite a lot of eyelid that we're going to see here. And we're going to cover the iris and the pupil. And you can see, I haven't even put an eyebrows yet and she already looks quite tired. I'm going to emphasize just a little bit more. Give us some bags under her eyes. Short little shape there is to indicate that her face is going to be sorry, her mouth, her mouth is going to be little bit down, maybe not super down in those corners of the mouth directions. But she's not excited about whatever is happening in the world and she wants to go back to sleep and giving her a very neutral eyebrows. Okay. Maybe those eyelids, bottom lid down. The bags under her eyes are not working super well. She looks kind of bored here. Not so tired. I think the eyebrows are making her look bored. So we're going to just lift them up a little bit so that they're in the normal position, perhaps the neutral position. That actually makes her look quite a bit more tired. Maybe her mouth open a little bit. Because, you know, she's not fully keeping your mouth closed because their jaws hanging just a little bit. Right? Okay. So yeah, that looks fairly tired. Real smile, right? Let's move over to the real smile here. It's again, we'll draw her eyes in. And I think eyebrows will be something like this kind of optimistic slant angle. And we'll draw in her upper lip line here. I'm just going to make adjustments for that one obviously because it's three-quarter. And we'll kind of plot in the lower lid line. Because we know we're going to modify this because it's a real smile, right? And give her normal the normal level of lid opening on her eyes. Okay. Maybe she's just received a gift or something. Okay, and we're gonna get that smile line in their mouth line, keeping it curved. We want those really nice pointing up corners of the mouth to show. Will open their mouth quite a bit. Right? And currently she looks like she's doing a fake smile, but we'll fix that. And let's just expand her lower jaw line a little bit. Opening her mouth up a little bit there. Show some top teeth. And you can see like this looks totally phaco. Until we introduce the magic tool, modifying the lower lid line into a C curve like that. Right? Clarifying her I islands here. Just give her a bit of a lash. Their shapes are getting lost. And let's just fix her arsenic pupil. I'm just really fixing the readability of it. Doesn't seem to be super clear. There's a lot of sketchy to the lungs. Rash and let's modify the eyebrows. We really want to get that, get that feeling. Just fixing up the spacing here of the face will see some lead as well. So let's get the little line in there. Okay. That is a real smile. Can add in. Bunching here by her nose too if we want to. Like she doesn't have bottom teeth, so it looks a bit weird. Bottom teeth and the lips is going to stretch. So it should technically be thinner than usual. And it's just get this eye line. Right. So that's her real smile. Okay, Um, let's do alluring. So here imagine her eyebrows low. But in a normal position, not a sad position. Similar to tide. We will want to see a lot of the lid. Okay. We want to hide that iris and the pupil as well. That one on the far side is not hiding as much as desired. Can get that lid in there. I'm just emphasizing this up a little on. Perhaps I think the eyebrows may be over, but Dell for an alluring look, I think there'll be slightly raised. Slightly raised. Just something like that. Just playing with the tip of it a little bit. And the money shot here is with the lips. Get the corners of the mouth to read. We're going to slightly open the mouth as well. Just a little bit. Now, just keep in mind opening the mouth slightly. You don't need to really modify the joy that much. But when the mouth is opening broadly like an in, or you'll definitely want to modify that. It's going to play the corners of the mouth here. This one's kind of up a little bit. It's going to modify the cheek line just a little bit. This is more of a positive alluring, I would say, versus a sort of a AG, I suppose we could take it edgier. Right? Maybe adjust that smile a little bit more. Yeah, that looks pretty cool. I think you can vary the edginess of that. So here's a scale of how alluring you want it to look. But we'll leave that for now. We'll leave that at that riots. And scared. I think scared is going to combine a sort of a shocked I, with a sort of, let's say, a sad top of our brush shape. And of course we can push this to extremes. E.g. terrified would be different as well. And maybe she's even biting her lip. Shall put that in there. So that's her teeth. It's very simple, C-shaped there. The teeth are biting the lower lip and we'll have her looking to the right. What's happening? Small pupils. Right? We won't see much eyelid because our eyes are wide open. And she's worried, she's scared. And her corners of her mouth here pointing down. Alright, That one is quite quick compared to the others. Right? And so here we have it. We're trying our best to use the tools. We have to get the look that we want in terms of worrying or tired, scared, alluring, and real smile in this demo, I think are real small. This eye looks literally dumb. I know what the heck is going on with that eye. Want to fix it up? It's bugging me. That looks really crazy. Just get that in there. Yeah, there we go. That looks just a little bit. Actually, we wouldn't see so much eyelid. I think that's the one of the problems. Yeah. Once we wouldn't see tons of other, we'll just see a normal amount which from this distance would be very, very small line, very small amount of space. All right. And just add in that cheek line there. Alright, so there you have it. I hope this has been useful to you and I'm definitely create your own grid. I see I've drawn in the blank heads grid here. But nevertheless, the idea is here at number one, to create a head for yourself with the nose and the ear in the hair and so on in that you can just draw right on top of, draw the face right on top of. Hope you've enjoyed this demo and I will see you guys in the next module. Cheers.