Drawing Cartoon Faces With Stephen Silver

1. Intro to Drawing Cartoon Faces: Welcome to drawing Cartoon faces with silver. My name is Stephen Silver. And in this course, we're going to be working through many different phases of how to get to that place of drawing effective cartoon faces. So we're going to need to learn about shapes and putting those together and squashing and stretching them. We're going to learn about just building up construction within your faces to make your cartoon faces more effective. We want to learn about how to draw things realistically in order to start cartooning them even more, so we'll cover the features of the face within the different lesson plans that I have organized. And then as we continuously work on different aspects of the faces and skull shapes, just to learn how to even cartoon those aspects to make you just more of an effective cartoonist, we'll break down the nose shapes. We're going to be breaking down just different mouth shapes and how to simplify them. We'll be working on eye shapes and eyebrows and how to get the expressions in there. We'll be breaking down ear shapes because every character needs to have some ears on them. And as we keep moving through, we'll eventually start putting all these practices into work where we're going to start just working on cartoon faces, where you're going to have that knowledge on how to build them. We're going to be able to work on these just a lot more slower and more effectively, and thereby creating just lots of different variations and styles within the cartoon faces that you're looking to do. So the whole objective is once we go through this whole process, we're going to be able to create some fun shapes, fun cartoon faces, and that's what this course is all about. Hope you enjoy it. 2. Art Materials: Today, I'd like to share with you some of the traditional mediums that I use when I'm drawing. Oftentimes, I'm using the computer, especially with work and we'll have a video on that on the different tools that I use with that. But today, I'd like to talk about just the traditional mediums. Remember, you do not need to spend that much money when it comes around to drawing. What we're really using is our imagination, here we have just some basic toolsets, just very inexpensive there's a large range when you go to an art store, but don't feel that you need to purchase all these expensive things. We can just use a traditional number two pencil, something that you have in school. It's just got a really nice line to it. We can just draw nice thin lines. We can use the side of the pencil just to get our shade. So this is a very nice simple tool to use. The next one that I like to use a lot is just a standard mechanical pencil. You can use a 0.0 0.3 or 0.05 or 0.7. I like the 0.7 just because it's a little bit thicker and this is just a great way just to get really thin lines as I'm working. So try using that whenever you can. Again, there's no right or wrong when you're using these other than just have them by your side. My next pencil that I like to use is called a coloras and they come in many different colors. This happens to be violet. I like using red, I like using blue. Whatever color you feel you like to use is fine. What I like about this type of pencil is that I can get very thin lines with it. I can just use it for shading too if I want to use the side of my pencil and I can just get very light. If I want to just start indicating just different shapes, whatever I'm drawing, I might just go and just very lightly here, and then afterwards, I can come back and make things just a lot darker. Also, it's nice because it erases, this happens to be just a little bit. I've never really used it that much, it erases, and that's what I like about this a lot. My next favorite pencil that I like to use is just a prisma color, black prisma color. What's great about this pencil is just that it's extremely dark and bold. If I need to draw a shape and get something extremely dark and bold, I can get that shape and it is very nice and you can get some nice thick lines. Again, I could use the side of my pencil if I draw something and just use the side and get a nice shade and I can go from dark to light on that. This is something that you can practice with. Again, it's very nice, but keep in mind this does not erase. That's going to be very important. It's not something that you want to try to do just rough sketch with. Let's go ahead and just look at the erasers. This is called a ed eraser, what's nice about the needed eraser is that it's just pliable and if it starts to get all gross and dirty looking, we can just move it around and then from here, again, it's just a really nice eraser where you can shape it to whatever you like to shape it to. If you want to get little tiny areas and erase those little tiny areas, you can make little tiny points with this and get that erasing. Then also we have just a standard hard eraser, where these are just great because you're just going to get just real nice clean erasing from it and make sure that your paper is not too thin because otherwise you can tear it. This is what I like about these erasers, if I'm using very thin paper, tracing paper, I can very gently start to erase on it, and it comes out really nicely. The next thing here is this is called a Saddler, Mars Graphic 3,000 duo. I like these pens because they have a tip brush pen tip on one side here. And as I'm working using this, I can just get a nice thin line and get a nice thick line. This is something where we're going to discuss when we get into doing cleanup and using pen and ink. It's just very nice just to get some really nice thin lines, whatever it is that you need to try to incorporate. I could just get thick lines across, which makes it really nice too. On the other side is just a thin section where it's just a thin point where I could just keep one consistent line if I just want to have one consistent line through there. That's something just to keep in mind, and that's the Saddler Mars Graphic 3,000 duo. Another thing that I like to use is just a regular old sharpie. What I like about Sharpie is it's just nice and bold. If I need to just draw and just get some nice big shapes in here, whatever they may be, I could just start to just draw very quickly once we start to build up practice. But it helps just building just nice solid bold lines. Again, this is when you start to get a little bit more confident. But again, it's a really great tool just to use when we're not trying to treat everything so precious. We just want to fun with this. We want to be able to just experiment, explore. We can draw really rough and really loose when you guys start working on some different exercises that we're going to work on. You'll find it's just very helpful to just really hit things very quickly. The last one I like to use here is this brush pen. It's Japanese. I can't read it, unfortunately, but there's no right or wrong with the brush pen. The thing that I just really like about this brush pen is that you can just get some really nice bold dark lines on this and you can just really have a lot of fun with it. This is something that eventually the more you gain confidence when you're drawing all the time in your sketchbook, whatever you may be doing, you're going to be able to find that nice clean line that you want. But here I might just even if I'm drawing an I, or anything else, I can just start to really just have fun with this shape and start to pull my little shapes through here and experiment and explore. This is a brush pen, no right or wrong with it. Just remember just have fun when you're exploring. 3. Sketchbook Varieties: Let's start today with just looking at different types of sketchbooks, the different types of paper that you're going to be needing in order to have success with your drawings. The first thing that we have here, I want to share with you just a sketchbook that I made myself. I actually had a company make it for me, but I picked out all the paper. The reason I made a sketchbook like this was just to have the variety of all the different paper. I think it's just very helpful to really experiment and explore with different textures whenever you can, but it's something that absolutely you don't need in the beginning just gives me that nice variety to really pick and choose on a daily basis. There's no right or wrong in the size of sketchbooks. I prefer either a nine by 12 or 8.5 by 11. It's really easy to carry around. The next one that I'd like to share with you is just a smaller sketchbook. Maybe that's something that you want. Again, there's no determination on what the right size is. This makes it just nice and easy to carry around. If you're traveling, going to the airport, wherever you may be. The papers just nice and thin. It's a little bit of a cream color. Again, you can use white. It really doesn't matter. The most important thing is is that you have a sketchbook just to draw in and carry around with you really for observation. Here's another book. This is a multi mixed media book and what's nice about this, this is nine by 12. It's just a little bit bigger, a little bit thicker cover. But what I like about it is that the texture, you unfortunately can't feel it, but it's very thick and it has a nice surface to it, so I can get beaten up a little bit more if you're going to use some watercolor or any wash on it or any markers, it's not going to bleed. This is another really nice sketchbook to have. And here's another sketchbook. This is just used for all different mediums. What's nice about this one. It just has some different texture to it and I like the tooth of it. You can really play around with any paper you want. There's no right or wrong. You might have some real smooth texture, you might have some real thin texture, really rough textures on it. It really doesn't matter. It's always going to be personal preference. Again, I like the size of this book. It just gives you the opportunity to really move your arm around. And really the most important source that you have is just simple copy paper. You can use just 8.5 by 11 paper. This is really the best sort of thing just to use and practice. You can throw them out easily if you don't like your drawings, but also it's a great way just to kind of keep them all together if you want to staple it and bind it is a really nice thing to do. My last recommendation would be to get some tracing paper. This is going to help you in the success of your drawings for you to be able to trace. This is very thin paper, but you can see if I just have my hand underneath it here, you can see through. It's not too opaque and it's very clear, so we can draw whatever we need to underneath. But this is going to be very important to the success of you with your continued growth with your drawing. This should give you a good start on what to use. I hope this is helpful, and let's get started. 4. Drawing a face using letters - Part One: Okay, today's drawing objective is just drawing using letters and just thinking about the line and the shapes so that we can create characters. So the first one we're starting off with is a W, and I just want to show you that I make mistakes and I erase, and that's okay. You don't have to get it perfect. I am just sort of drawing it just trying to get it in one go and one shape, and that's just part of the practice that I wanted to do and my intention when I'm doing this. So you can practice because the faster you draw and you get in the habit of drawing really quickly, then you can sometimes get the straighter lines. If you slow down too much, your lines may not be as straight as you want them to. Then the next thing was just drawing some ovals. You can see and that's all I'm working on is the ovals and some lines. Here I'm using the letter U and just changing it into that shape as I get into this next color, create just a bunch of V shapes for the hair. We can put some C shapes for the ears, a little M shape for the inside of the hair. And then the eyes are just a little crescent moon and some shapes for the eyebrows. You can see when I'm thinking just about letters, when I'm starting to apply it, but I'm trying to make them appealing looking, making them straight, not making them too wobbly, trying to give it some character. This is where you can just start to improve your artwork and your line when you're drawing. Also keep in mind as I am doing this, I am conscious of all the construction that's going on underneath. I'm thinking about the eyeline and the center line, so I can determine if I'm going to draw someone front view or side view. So it's important just to really think about how a face will turn and look and you'll see that in a lot more of the other videos that you're going to get to. Here now I'm going to take the letter D, but switch it. In a backwards way and that way, again, we can move letters around and now playing around just again with some ovals and always pushing my contrast. This is something you'll always keep learning in the classes here is ways to address and push the contrast so that you're not making things so even and giving your characters just a little bit more attitude by changing the eyebrows, by moving the mouth around in different directions. This is all part of the process as you just slowly starting to build upon this idea. Okay. Also, I want you just to use this as an exercise and put it on pores and draw exactly what I've drawn. If you're not comfortable drawing your own and you want to just follow it line by line and see, Okay, I drew the eyes, I drew the nose. You can see I just did a W for the mouth and then just ovals for the eyes and the nose and still thinking of clean, clear shape. So what I want you to do is just practice doing this with these letters and see what you come up with. Have fun. 5. Drawing a face using letters - Part Two: All right. Today's drawing objective is continuation of drawing letters and using shapes and lines just to help us find ways to create some fun, unique characters. So now we're going to start just using just the letter G, trying to find that shape, and I'm just using that brown line and the red line just so you can see how I'm separating. And from here, again, using just those simple shapes. You may just use a line. I might just use a V shape for the I. Look what I did with the nose, how it was just a V at the bottom and connected there. And now just using the letter J, draw a couple of circles after that. We can create any face shape, even if you wanted to create a triangle face shape and any sort of hair afterwards. But by putting these pieces together, we can start to create something that we didn't even think was maybe possible before. I want to just reiterate every time you're drawing, the most important thing to do is just draw with a clean, clear line. You notice when I'm drawing these letters that I'm drawing them pretty quickly and pretty fast, just to get a smoother, clearer line as I'm working on the characters here. We don't want it to be all road mappy and all jaggedy like some of the lessons we've talked about earlier on here. And if I want to add any extra details to this character, I can. Again, this is just drawing the faces. But my whole point behind this and why I want you just to practice something like this is just to start to get comfortable, more so just using your hand drawing really quickly, just trying to find clear shapes. It all comes down to those clear shapes. When I was doing this nose, I just wasn't happy with what I was doing, so allow yourself to erase it and come back afterwards and add to it. These aren't cleaned up. These are still just playing around with that rough form, but the most important thing is that those lines are very clean and clear. And that's when you're putting together a portfolio or showcasing your art for a client, that's going to be extremely important in order just get continued work, to be honest with you. I'm just starting with just an upside down V, and now we can just take a bunch of little V shapes. I want to create just a beard here, use some V shapes for the ear, a couple of circles. So get used to just drawing circles. It's a great exercise when you're just practicing, just to draw circles and ovals and get confident with that so that your linework starts to get better and eventually everything that you do will start to get better just through that continued practice. Then you'll come back afterwards and add any little details to your character. My goal is, as we're working on these, for you to even pause this off to each one that I've done here and just for you to mimic just each line that I'm doing, again, you can create your own characters, but I think it's very helpful if you were just to take your time, put it on pause, and redraw these characters as many times as you need to just really try to get just the feeling behind it because it'll really help guide you. Have fun. 6. Adding volume to a form: Idea is, how do we start to add volume? The best thing to do when you're adding volume to your forms is just draw through it, just like I'm doing. It's almost like a basketball shape, just taking that sphere and drawing all the way through as if there was a rubber band wrapping around it. Now, if I just move some of the backside of it, you can start to see that the ball was turning on one angle, and now I'm going to darken these lines through here. I haven't adjusted the shapes, but now I'm giving the illusion that the head's tilted or whatever I'm trying to draw is tilted at another angle. So this is the real reason and purpose for doing this, just to understand the volumes and the movement of the forms and how things really work, especially when it comes to constructing. This is going to be the most essential thing that you want to know. And the best practice that you can do is almost doing what I'm doing here, is just drawing through that shape, imagine that rubber band wrapped around it. The best part of a practice is draw as many circles as you can, draw little circles, big circles, draw it free hand. You can even use a quarter and draw around it, whatever you like to do. But the best thing to do is again draw through and don't make your line just flat like I've done here because that can really destroy it. We want to wrap around. So get that feeling. And if you don't have that feeling in your drawing, do it again and again and again. And this is the best habit that you can build for yourself in order to really grow as an artist in general, whether you want to design characters or just about anything. 7. Drawing Basic Shapes : Be the foundation for everything that you do. So if we can work on creating nice clean, clear shapes, this is how we want to go about it. As we're working through these, we start to see that there's maybe only about five different shapes that we want to play with at this moment. Now there's unlimited amounts. We can have shapes that are very organic. We can have them just take all sorts of forms. It could be a pear shape, it could be the shape of a sign, it could be the shape of a lamp, it could be anything. But if we focus on starting with these basic shapes, then we can create as many things as we like. So now, looking at the circle, the best form of practice when we're looking at the circle is just to get in the habit of drawing circles. As you work on your paper and you move around, practice drawing small circles, large circles, they're not going to be perfect by any means, as you're doing this, especially when you're drawing a free what I want you to do is just get in the habit of playing with this sort of variation. Okay? This way we're avoiding what I call roadmapping. Road mapping looks like a roadmap, which is doing this. That's not a circle. So these are things we want to avoid if you're trying to draw that you're making it too messy, too sloppy. We want to try to avoid that as much as possible. Okay? That's the first thing we're going to start off with is with the circle. The next shape we want to play with is the oval. The oval, we can take in different directions. As you practice, I want you to practice just moving that oval around. So what we're really looking at is almost just an egg shape. And as we start to we can draw small, we can make really small, we can make large. And if we need to when we get around to maybe drawing eyeballs, we could do the same thing where we're drawing ovals within ovals and playing with these shapes. Once again, the goal is to avoid this sort of shape or just idea where that's not really an oval shape. The next shape we want to play with is a square. So here, I'm just going to draw these lines, and it's okay if you draw outside of the box. If I have lines, if I'm trying to draw my square and just draw lines like this and they go beyond, that's okay. If you need to, when the time is right, all you have to do is erase them like I'm doing right now. But let's focus again, avoiding saying that, well, that's a square or this is a square. It becomes too much of that roadmap on all over. Let's look at the rectangle. The rectangle is going to be another basic shape that we want to play with and treat it much like we've just drawn the square. You don't have to draw it straight up and down. What we're almost doing is getting comfortable moving that rectangle in all different directions. Imagine it being like a door. Okay? And you're moving that door and you move it in any sort of direction. This is going to be very important to learn how to do this, especially when we're building faces and bodies as we get into further exercises. Again, what I'm trying to avoid is just saying that that's a rectangle or keeping your lines all empty like that. And with gaps in them, that's not necessarily the rectangle, either. And the last shape we want to play with today is, of course, the triangle. The triangle is trying to build the shapes equal on all sides as close as you can. Something that I like to do if I'm trying to create my center for my triangle is I'll draw my center line. And then I'm going to draw my ground plane. And then from here, I can just do something like this and then start to create just a better concept and idea of lines and keep it centered. Because sometimes when we work on triangles, they end up looking like this. It gets just two. One side's pushing way off into an angle, and the other side is they just don't feel as equal as we have here. 8. Pushing Shapes: Alright. Today's drawing objective is just to take some simple shapes and think about how to actually push them and what pushing the shapes really means. So let's get into this. Alright, when pushing shapes, we can just take some simple shapes. If we just want to maybe just start off with a square, we might let me just switch my brush here. We might start off with a triangle shape through here. Okay, we might start off with just a circle shape, get on circle shape. So we're just really playing around with these three different shapes, and now it's just a matter just trying to push these. So whenever we're putting together characters and developing characters, that's what we're just trying to do is just manipulate those shapes. So the idea that I still have four corners going with this particular square, I still want to maintain those four corners, but now I can just start to change that shape. So in this sense, what I'm doing is I'm just starting to take that square and I'm stretching it, and I'm pulling it in that long direction. I may have it wide up top here. And take this side through there and almost maybe even just think about bending it just a little bit. Imagine that you're just starting just to take a coat wire or anything else and just start to manipulate and bend that shape. So as I'm doing this, this is where I can just start to create just multiple different shapes, just still taking that same concept. It's still a nice, clean, clear shape, and that's what we're playing with. The same thing I can take this triangle. I'm still taking that triangle, but maybe I just want to manipulate it a little bit more and now I'm going to make just more of a boomerang shape. Notice how I'm not just cutting it straight down the middle and making it even. I can just start to shift it off to the side. But what I'm not doing is taking a shape and just starting to go like this and saying, Okay, that's my shape, and I'm pushing that triangle. That just becomes a little bit more of a mess. I might even just take that shape and just put it at a complete angle doing something like this. I might take that shape and start to manipulate it in a shape like this. Okay? So there's a lot of different ways I can start pushing and manipulating this exact shape, and that's what I want you to play around as you work on this exercise is just taking that shape and just starting to move it around, meanwhile, maintaining that essence of what that shape is. Like, it still feels like it fits within that family. So here I can take this and imagine that I'm taking that oval and I've just squashed that shape or maybe I'm going to take this oval, and I'm going to make that longer. I'm squashing it in this direction. It's like taking a rubber band. Manipulating it. I may take it and just move it around like this. This could all of a sudden become a nice mouth shape if I wanted it to be, if I was manipulating that. I keep in mind, I'm still keeping those nice soft edges all the way around. I might take a shape and make it look a little bit more of a peanut shape in that direction. So there's a lot of different ways that we can take these shapes and start to manipulate it. And that's what I want you to think about as you're working on just pushing your shapes here. Just put together a page of manipulating that and get comfortable moving your arm around and see what happens. Alright? Have fun. 9. Shape, Order, Distance, Size: Talk about shape or the distance size. We can really use any sort of shapes. If we just look at a vase shape and we flip them upside down, we can get a whole new shape from that. So you don't just have to settle on using vase shapes, but this is what we want to start off with this exercise. So as I'm going through this process, all I'm trying to do and help myself with is just trying to find that essential shape. What can that be? Through this next process, I want to start playing with order. I'm thinking about where the eyes are, where the nose may be, where the mouth may be. Through this, and then I start to think about the distance. How far away are they from each other? So I don't want to make everything so even, and now I also want to play with size. How big are the eyes? How wide is the nose? How small is the nose? How long is the mouth? And as we go through this over and over, with whatever we end up doing within our drawing, we can create a variety of variation. This is really the most important thing that we want to concentrate and focus on. Remember, it's not about doing the details straight away, the details come lost, so pay attention to that. 10. Drawing Realistic Eyes: Not that many parts that we need to think about. The first thing we're looking at is the upper eyelid. We have the lower eyelid. We have the eyelashes on the top and bottom and what's called the sclera, which is the whites of the eyes. And then the iris, which represents the color, and then we have the black part in the middle, which is the pupil, and in the very corner is the eye duct. So just making up seven different features here. The eye shapes can be any size. They can be squash. They can be long. They can be short. But let's start going over these eyeballs here. What I like to do is just start with the top part. When we look at Asian eyes, we'll know that the duct drops down just a little bit more, and also, you don't have as much of an eyelid. And just different nationalities and races have all different shapes. So it's very important to keep that in mind. As I'm drawing this, I want to think about how the eyelid just wraps on top of the ball of the eye. This is very important and just try to follow the flow as much as you can. Here I'm going to start again as I draw the top lid. I'm going to think about the duct. And then also with the eyelashes, think about it as a shape. Look how I'm drawing the shape through here. It sort of follows a pattern. We don't want to draw these spontaneous random lines flying all over the place. Look at the eyelid, how the eyelid just acts like a shutter. It just opens and closes up and down. And this is another area of simplicity. Drawing the side view is much just like a V shape. We draw the side view. We have a ball. We put the V over that ball, and now I'll do the same thing adding the eyelid and the eyelashes. And again, think about the shape that it wraps around the form. This is very important when we're working on eyes. I'm drawing the eye from scratch now. Think about the shadows that come from the eyelid that go over. I'm placing my eyelashes and wrapping it around the form once again. And even as I draw the side view, I want to think about it like a baseball hat, how it just seems to wrap. 11. Drawing Cartoon Eyes: Cartoon eyes. We've discussed realistic eyes and how they're really made up of seven different parts. When we look at the cartoon eyes, there is such a large variety. We can have so many different sizes, so many different shapes. You can even see on some of these they're just dots for eyes. But what you'll see over and over again when you look at just a few of these is the cleanliness of the lines and the shape of the lines, their ovals, their circles, their triangles. And that comes back down to the basic forms and the basic shapes that we discussed. We can look at cartoon eyes that may just be oval. And when we look at these, we need to understand we're thinking about not too many things. It comes down to this shape, distance, and size. We can look at the shapes. Do we want the shape to be large or small? Do we want them to be oval? Do we want them to be circular? Do we want them to be square? There can be just a lot of different things we want to think about within the shape. But when we're looking at the distance and the size, this is what we can look at too. Look we can move these eyes. If we want the distance just to be further apart, we might have our character's eyes further apart. We might have the character's eyes, where they're just actually overlapping each other this way. And when we do something like this, what we can do is start breaking up and erasing just some of these shapes just to get an actual overlap. So here I've done that overlay. I'm going to come back in right now and erase that. And by doing something like that, I just create just a nice overlay. It doesn't feel like they're too squished on top of each other. And, again, we're creating the distance that's going to be even closer together. So there's a lot of different variety that you can play with when it does come to these eyes. One of the most important things when you're drawing the cartoon eyes is just to really get in the habit of finding and thinking about maybe a direction your character's eyes may go. Maybe the character's eyeballs are looking up this way. Maybe the characters eyeballs are looking off to the side through here. And we don't always have to keep them circular. We can change the shapes. We can make them maybe that eyeball can be square. Like that. Okay? Maybe it could be more of a V shape if we want to include a V shape. And here we get, once again, just a lot of this variety. Maybe the eyes are going in this direction and doing something like that. So what I've created there is more of the iris of the eyes. The next thing that we can do that we want to think about is what the pupil might look like. Maybe that pupil's round inside there. Maybe that pupil might be square. Maybe we might maintain that triangular look and what I'm doing here is just darkening that in as we want to just represent that pupil. Maybe it's more of that sort of cad eye. Ah, look that we have. So all these different shapes we can take. We can take eyes and go in this direction. Maybe I'm going to turn it in that direction and almost make that football shape and create a football through there, and now I'm just going to draw a nice circle or oval inside there. So it's unlimited with what we can do with these different eyes. One of the most important things just to get comfortable doing is really making those shapes. If we draw some sort of oval or circle, just practice drawing another oval inside of it. Maybe we're going to just practice just drawing circles. You can do things like this to help you as you're starting just to learn and practice. We can draw eyes where we just draw a line like this and draw a little shape underneath there. So what I encourage you to do is look at just a lot of different styles of eyes to really get a better hand because it's really unlimited with what we want to do. And as a last reminder that what we're really looking at is only about five elements out of the seven elements I discussed with the realistic eye. So when we look at the realistic eye, we have just the top eyelid. Okay, up through here. We have the bottom part of the eyelid. We're going to have the actual the pupil, the iris, we're going to have the pupil. We're going to have the sclera, which is the whites of the eyes through here, and then we're going to have the eye lashes that are going to come up through here. And then there's going to be the duct of the eye. So that breaks up those seven different parts of the eye. When we're doing a cartoon eye, basically what we're eliminating is that duct in the eye. We don't necessarily need that and we don't always need that lower eyelid, but we will maybe have that top eyelid through there. We still we might not even have a pupil inside there in some eyes. Maybe it's just going to be just all one color and we can do something like that. Otherwise, I can add the pupil in there afterwards. And even if I want to add a highlight, I can come in and put a highlight in afterwards. And then we can get if the eyelashes, maybe we could just limit it to just a few different eyelashes. But this is how we can start to think about making cartoon eyes. So this is very important, just to practice these basic shapes as much as possible. I encourage you to look at as many cartoon eyes and trace them and copy them and learn from them, and then you'll be well on your way for creating your own cartoon eyes. 12. Drawing Realistic Noses: About it like a basic triangular shape. If we just think about the shapes that we've started to understand, we don't have to think about making everything so complicated with the muscles and all the bones and all the little nuances. It's important to understand. But when drawing the nose, we may even think about it like a two by four word. We're going to have the nose bridge, which is going to be flat on the top, and then we'll have the side plane on the side. Later on, when we come to putting some shadow into any of the faces that we're doing, we'll start to understand that more, but breaking it down into those two simple shapes is going to be very important. What I'm doing now is thinking about the first shape is the bridge of the nose, and then the bottom part where it gets a little bit more bulbous is cartilage in the middle. So the nose is broken up into three parts, and then we have the nostrils, the wings, which are on the side. Again, breaking down this shape, it almost looks like a bird shape. We'll start to do the top plane, and then we'll do the side plane. We can incorporate the wings and start to develop a lot more of our character nose shapes from there. So this is what we want to always remember. So now that we're going to draw the front of the nose, start with that basic triangular shape, and we'll start to build up slowly from there. The thing as I'm doing this is just remember you can put this on pores. You can slow it down as we start to build, but remember the three parts to the nose. You have the nostril, you have the wing of the nostril. And these are really just the main elements that make up the nose. And even when we're doing the side you, just start building up with that great triangular shape, and we build from there. 13. Drawing Cartoon Noses: Like the real nose, we start off with almost that two by four. It's like a little slice of pie that we lay down the structure, and then we can just put the wings of the nostrils on top of that and then simplify it to make it cartoon. So here, again, I'm drawing the front of the nose. I'm drawing the wings. I'm almost like making a W shape or that bird shape that goes underneath. And once we understand that, that's the real basis or structure of the nose in that simple way. We can start to cartoon it in any way we like. And here you can see I'm changing the shapes of the nostrils, of the wings of the nose or where the just the bone structure, that shape. And here, what I want to just express again is if we're putting a whole face together, we're attaching that wedge to the face. We can think about just the nostrils that attach to that wedge. And now what we can do is really just change this into multiple different shapes. We don't have to stick with the shape that you lay down. This is the benefit of drawing things lightly and then drawing things darker on top of it. Let your imagination wonder and roam. There can be so many different variations as you see here. The thing that I want to point out here, it's very important not to do that road mapping we talked about where there's no connection, there's no shape. It's just thrown all over the place, and that's not what's going to make a nose look good. So we want to really keep these shapes simple, have fun with it, play around with it, and enjoy. 14. Drawing Realistic Lips: Talk about lips. So the thing that I want to do here is just establish a dot. That's the corners of the mouth. The next thing we want to just try to find is the line. And once we've completed that, then we can start figuring out the actual shape of the lips. I have found this to be a very effective way to work on it. Also, if we just think about the actual shape, what is the shape the mouth is taking, whether it's open or closed is going to be very important. Another aspect is look at that little V shape that goes right above that top lip. We can establish that once we've established our dot, our line, our shape, and start to think about that. And even more so if we break it down, look at the shapes that these lips take. They almost look like a bow and arrow when we really think about it. So how can we incorporate that? Don't make things symmetrical. Don't worry about making it perfect. Now, going back to it, we start with the dot. I'm going to start with my line. I start with my shape, and then I can start to build my V shape in there. Notice how I can take almost like an M shape for the line of the mouth. It can take on very different shapes whenever you're drawing. Always think about the direction that your mouth is going. Think about your teeth, the shapes that are going underneath there. If you think about shape, always, this will be very effective. And also the negative space. The negative space of those black parts and also the gums, we might think about how that works with the mouth. And looking at positive and negative shape, the positive shapes are going to be white. The negative shapes are going to be black. Keep your eye open for that in the spacing, and don't worry about making the lips perfectly straight. We can make the shape whatever direction that we wish to. As I'm going through mouths and look through them, going back to the shape aspect, this is where the practice comes in. Find those shapes of the mouth, get the line of the mouth going in there, incorporate that V shape on top, and you'll find how easy it is to do this. And afterwards, you can erase that shape right above the V shape just to make your mouth effective. We can do this with real lips and cartoon lips. Another thing we want to keep in our mind is, do they have an overbite? Do they have an underbite? Do they have an open bite when we're looking at the mouth? When drawing the side view, starting with a triangular shape is going to be very effective. Look at it like there's an M shape there, and then we can add the line afterwards, and always thinking about the angles. Look at that direction. Whenever you're looking at people, this is going to be very helpful so that your lips don't appear so flat and once again, getting that M shape in there. And even as I do this, it looks like a backwards B. Moving on to drawing the mouth, we want to think about a lip arrow. Look at the direction. Just think about it as an arrow. It's a lip arrow. It's got an angle, and then we can start to incorporate that shape. So drawing the side view is extremely easy to do. Draw that line, draw the arrow, draw that shape, and you're going to find it very effective when you're practicing. And when the mouth is open, think about where the jaw is, where the lips are within there, and we can still incorporate the same ideas that lip angle, a V shape, M shape, and just a line of where the mouth will be. 15. Drawing Cartoon Mouth Shapes: We want to think about from the exercises we did with the real mouth is just thinking about the shape, but also thinking about the teeth that are going to be inside there. I think that's always a very important thing just to think about how the mouth and the lips are going to wrap around that mouth. And then what we want to do is start giving ourselves the knowledge of just shapes. And that's what I've done here. I just made the shape of the and also, as we're drawing these, just think about the placement on the teeth from the central incisor to the lateral to the canine, to the first premolar, second premolar, as we can see in the chart above, those are going to be within the shape of the mouth. So the more you get that understanding, the better chance you have of making the mouth just a lot more effective, even if it's going to be drawn in the cartoon form. I marked the canine just to show that that's going to be the sharpest tooth within the mouth. Also thinking about the mouth, how it stretches, much like a rubber band. How do we stretch it vertically? How do we stretch it horizontally, and breaking down that simple shape is where we can get nice cartoon shapes going. As I'm drawing these, we can see that the cartoon mouth can vary in so many different ways. And the most important thing, again, is keeping things extremely clean and clear. And when you start to put your teeth in there, they can be wide teeth. They can be narrow teeth. They can be teeth that are maybe not even there, have gap teeth within there. We might just show the tongue on the bottom. But as I'm doing this, I'm still thinking about that canine tooth, and that's where I might get a little bit sharp in that corner. Sometimes you don't even have to put the lines of the mouth in there of the teeth because we can really indicate it just with a pure shape. So this is why the most important thing you can ever do is keep looking at a lot of cartoony mouths and practice these mouths. Let that be part of your practice. And as you look at all different cartoon styles, you'll see so much variation. But what I like to do is blocking the shape first, and if I'm going to put the lines of the teeth in, I usually put those in on the last part because I may decide that I don't even want them there. Here I'm doing the road mapping, which we've talked about. You don't want to do this. Your goal is to always make nice clean, clear shapes. Don't just randomly throw any shape, get them all just confusing and crazy angle. Just draw mouth is just a box shape. It can tend to lose that appeal within the shape and make sure that you're closing off your lines within the shapes, too. When we're drawing mouths and cartoon mouths that are open, we can make tongues that are round and square and whatever angle we sort of want. But think about the tension, and that's what I'm showing here with the arrows. As the mouth is opening, you got to remember it's stretching. So everything within the mouth is going to stretch. And if we can incorporate that tension within the pulling of the mouth, that's going to make the mouth feel just apparent and more appealing. Is what we're really looking for. And when the mouth is smiling, all the lines are going to go upwards. Just think about where those tension points are going to be. Here, again, I place that idea of the canine in there and thinking about my negative space. Again, you could be drawing animal mouths, whatever they may be. Think about how they squash and stretch, think about the tension. Now what I'm doing is drawing just using letters, using the letter A, B, C, D, E, IM, OU VW. And look if I just make those nice clear shapes using those letters, how many different mouths cartoon mouths that I can incorporate doing this? It's a very fun exercise to do. It sort of helps ensure that you keep your shapes and your mouth just very clean, clear, and almost iconic and thinking about that. And this is why shapes can become a very useful tool, encourage you to practice this as much as possible and enjoy this process. 16. Cartoon Eyebrows: Cartoon eyebrows, I'm drawing these eye shapes in really quick. The main idea that we want to do is follow like we did with the real eyebrows, following the arc of the eye, following the shape, following the orbit of the eye, the bone that we have right there, and see how it is all contained within that shape, you can do whatever sort of eyebrows you want. You can make them mean eyebrows. You can start to raise them, but the idea is to keep trying to just think about containing them however you go about doing it, okay? The thing that we don't want to do is just draw them random and throw them off to the side and not really contain them around the orbital bone of the face. And then when you're making your eyebrows, just make any shapes. Have fun. Look at some of these cartoon eyebrows that I'm going to show you. Please go ahead and proceed with your assignment. Remember, to have fun with this. Maybe you'll draw one, maybe you'll draw five, but every time you do it through the repetitive process, you're going to get better. 17. Realistic Eyebrows: Really just about understanding the mechanics of them and how they work. It's all about breaking down that shape. What is the shape that the eyebrow arcs around from the eye socket? And this is what I just want to point out. That's usually when you have this, it's all self contained. We don't want the eyebrow to be going in all different directions. As you can see, we have angled eyebrows, low eyebrows, thin eyebrows, thick eyebrows. There's variations of these different sort of eyebrows that we always can play with. So it doesn't matter really what the style is going to be or what the shape's going to be. But what we can start to think about is if we take where the duct of the eye is and draw a line going straight up and we draw an arrow almost like an angle, then we can start to just follow that and wrap it around the form. Remember, the eye wraps around the skin and the head and the skull, and that line that I place there almost represents, like, the side plane of the head. So it's important just to keep that in mind when you're drawing the eyebrows, okay? Something else you want to keep in mind is direction of the form. The eyebrows are going in the direction, depending if they're on the left side or the right side, but that's what we want to think about. When you look at even Asian eyebrows, sometimes, what you'll find is that you'll at the edge, you're going to see just more of a different angle up here. So always observe the eyebrows. And even when we're looking at the men's eyebrows, I'm still building up that shape as it wraps around the eye socket. This is the most important truly keep in mind as we're trying to work on this. And as I'm going through on this eyebrow, look at the shape. We start with the shape, and we can build whatever style, whatever technique, whatever you wish to do. We're following the directional form, and this is the best approach when you're working on eyebrows, keep in mind the negative space, and it'll all work out. 18. Realistic ear: Break it down in just a few little parts. We got the helix or the rim, which is the outer part, the anti helix or the outer conch or concha, which is more of that bigger basin. Then you got the conch known as concha, and that's that inside basin, the tragus, which is that little hard part. On the corner of your ear to connect to your face, The antitragus is the part just below, and then the rook is that little area that we have that we'll see in our point out that sort of sticks out. Okay? So it's based on very small parts. What I'm doing here, I just want you to think about just the shape that the ear takes and the negative space within that shape. So we can start with a form of oblong triangle and orders to get us there. And also, when you're thinking about the ear, I like to break it down into four little parts where angles may fall, and we'll start to notice that. Even though the ear feels very round, we may just start to see some of that squareness, but we can also make it very round. Once I've established that, the big things I focus on is the conch and then the root, as well as the helix or the outer rim. And those are the areas where I pay attention to. On a side view, I'm doing the same thing just starting with a box, and those boxes can be draw in many different angles. Do the ears go out? Do the ears go in? And as I start to do that, then I'll start to think about just that outer rim again. Then I'll think about the conch and then I'll think about the little root and also just where the anti helix is. So again, breaking it into these very few parts. If I'm starting from scratch, I'll start with that triangular shape, find my rim, the helix, find the conch, that inside basin, and just mark the root. So it just becomes almost like one, two, three little areas that you're really playing with. And you can make it as detailed as you want. Right now, it's more about the linework and trying to discover it. We're not worried about the shading, but just really hitting those parts from the outer rim, the root, the conch and the anti helix. Here I'm going through just breaking down the concha, again, that inner basin. This outer part becomes that anti helix that becomes the next basin. And then we work on the rim, which is the helix, that outer part, and that can take form of any shape. And then we lost and we have is the lobe, which is that little dangling piece of meat that you have coming off of your ear there, and that could be any sort of shape or size. And that's why looking at so many different types of ears are going to be beneficial to you in helping you learn as you're constantly going and growing and trying to discover all this. Look at the different shapes the concha makes. It almost even though they're all the same different ears, it still really all maintains the same type of shape. The same thing with anti helix. It's got this sort of C shape to it or this little open mouth to a character, and that can really vary in different shapes. But all ears are based off the same idea. So if I'm going to be drawing my ear, these are the things I always want to just think when I'm working on this. Just start off with your box and then start to create the rest of the inside attributes to make that ear and think about the form. H 19. Cartoon ears: Want to briefly go over the realistic ear because we're using the exact same principles and ideas. So it's important that you know this, understand where these areas of the ear fall. And by having that understanding, then we can incorporate that when we're drawing our cartoon ear. So don't neglect this. This is the beginning phase of just really learning something, okay? And now what I'm doing is think about just the basic shapes, the square, the circle, the triangle, the rectangle, the oval and how if we understand these solid shapes and we draw these, we can start to build ear shapes, especially cartoon ear shapes and even realistic ear shapes off this. What I want to do now is just kind of hit the side of the ears. Imagine that it's connected to the head through there, using the red, just to make it just a little bit more clear for you and look at all the different shapes, again, based off triangles, rectangles, ovals, and now I can even use numbers for the inside of the ear. We don't necessarily have to represent all the realistic aspects of an ear because we want to stylize it and cartoon it. And this is where the variety comes from. Could be a dash, could be a backwards three, could be many different things, whatever your heart desires, really. As we're drawing the ears to, as I'm drawing this J within this box, what I just want to point out is just making sure that you're drawing things clean and clear. And there's a design to it. So by me just drawing that J inside that format, I'm giving some nice angles to it, the same thing with this almost sidewards D and this S shape in there. I'm just thinking about the negative space where it's more triangular and it's not so parallel and just arbitrarily thrown in there. That's very important just to make sure that you're keeping things really clean because it just shows your draughtsmanship. It shows that you understand what you're doing, and that's why we want to do things that we want to really try to avoid is just randomly just drawing these elements with inside the ear very sloppy. Don't do that. We want to avoid that as much as possible. And as you're drawing that cartoon ear shape, if we want to get it even just a little bit more realistic, maybe it doesn't always have to be this real cartoon shape based off an oval or a circle or a triangle. But now I still might just limit those areas. I'm still thinking about the conch and I'm still thinking about where the root is, and I'm still thinking about whether helix is the rim or the anti helix. So it's still very conscious and prevalent within my mind. And when you practice, start drawing just all different shapes. Just remember to keep things really clean, keep things really clear. When you look at these, they could almost be a nose. If you want to make a cartoon nose, they could almost represent a sideways of a mouth if you drew a mouth. But as you're seeing me do, just keep those patterns clean, clear, and this is what's go to make your cartoon ears great. Oh, 20. Skull Front View: When we look at the skull, what we're playing with here, and let's take a look at the front view, we're just going to start off with our rectangle. Once we do that, let's establish our cent line. The centerline will sort of tell us where the center is so that we know we don't have to get things absolutely symmetrical, but we know that we don't want things to be skewed too much. From there, I'm going to break down and you can do this roughly, break it into thirds. So now we have one, two, three different sections through here. We're starting with our basic rectangle. And now within this rectangle, what we need to do is just draw a circle. If we look at the edge of the skull to the edge of the skull, we'll see that it's going to touch on the edge here. I'm going to draw my circle through here. And that's going to go to this line right here to the bottom of your number two of your thirds. We can see here on the side from the side view, that's where the skull is going to end. Now, when we look at the side view of the skull, it's not a perfect circle, but in the front view, it's going to be perceived as that. The next thing we want to do, let's play with our rectangle. We're going to just drawing a rectangle shape, but let's draw it all the way through, take it all the way down through here to the bottom, and we can cut into that shape. And once we've established that, we can start to just build some more circles. So right underneath the bottom of line number one, let's go ahead and draw another circle through here. And then we'll draw another circle on the other side through here. And now let's look at the nose. It's almost like a triangular shape. So here, I'm just going to build that shape in here, make a little bit more of a triangle. Once we've done that, just in the third box here, we can start just to create another rectangle shape of the teeth. So when we start to look at this, it becomes extremely simple in its context. It's almost like a pumpkin. We start to carve into the pumpkin and we start to pull the pieces away. Here I'm going to now just cut into the corners through here just to get a little bit of that triangle shape. Again, what we're noticing and I want you to pay attention to are these triangular shapes that we have going on through here. And then once we get underneath the jaw right here, we can start just to get a rectangle shape through here. Okay. And from here, we don't really need any more details. This is the beginning phase of drawing the skull. And if we have this understanding, things are going to get a lot easier for you as you start to build. Let's do this from scratch. When you finish your tracing of the skull drawing, what I encourage you to do now is just do the same thing. Let's start off with our rectangle shape. Let's find our centiline let's fine break it into thirds. So that's meaning that we have just equal distance between each block here, one, two, and three. Let's start again with our circle. You'll notice again that the side of the skull goes out a lot further than the jaw of the skull. And we're going to just draw that circle all the way through here. Let's get that rectangle shape in here. As we progress through our assignments, we'll learn to exaggerate. We can make the jaw wider. We can make it more narrow. We can make the skull, stretch it, squash it. We can do many things with that. But now, at this point, we just kind of want to get the basics through here. Let's start with our circles, just almost right underneath that line through there. And now let's put in our triangular shape. Notice that the triangular shape just goes a little bit above where the line of the eyes are going to be here. So I want to pull it just a little bit further than the bottom through here. I don't want to bring it too far down because it might really change the whole dynamic of our skeleton and our skull through here. Now let's take the face, the mouth. Let's just incorporate that. It's almost getting this nice little rectangular shape through here, and this is where we'll start to place the teeth. And then from here, we can block in another rectangle just on the sides. And now we can take a little V shape, just almost cut into a triangular shape through here. We don't want to make the chin too pointy. And you can see even through here, there's still a little bit of exaggeration through there. It's not perfect. And what I want you to just realize when you're working and you're practicing, don't feel that you need to make things perfect because at this point, you're really just trying to learn. Now that we have those basics down, what I want you to see is that the cheek bone is going to come out from this shape and wrap around and connect just right into this top part of the mouth through here. So we have a shape that's going to come through here. And it's almost like a C shape. It comes around and it just connects and it starts to pull that jaw out. I also want you to think about the skull without the jaw. What does that look like? The whole skull without the jaw just comes around through here. You'll usually see the teeth may be connected with it as we come around the whole skull, and it just becomes that top shape through there. So this is our jaw, this becomes our skull. And through here, we can do the same thing. We start to just incorporate just the skull part, which takes a shape like that. Which we have the big mass right here, and then we can eliminate that draw through there. So let's go through here one last time. I'm going to speed up the footage for you just so that you can see how we can go through this. Be sure just to continue with the repetition, try drawing as many as you can within whatever time that you have. And remember, have fun. Wow. 21. Skull SIde View: We built up our front view, we were just relying on a rectangle shape. And now for the side view, we're going to be focusing and relying on a square shape. It's important to make sure that we break our shape into thirds again, equal as close as you can. Don't feel that you need to get it exactly perfect. It's okay just to rough it in nice and loose. And that's the most important thing is keep things loose. I don't want you to feel the pressure of making things too detailed. I don't want you to feel the pressure of just trying to make things perfect. This is all about practicing, studying, and playing around with shapes. We're not focusing on details, but it's important to establish the shapes. You'll see from the side view to the front view we have more of an oval. The front view is more of a circle. The next thing that I want to do is just start placing in more of a rectangular shape and angles into the jaw. The jaw, otherwise known as the mandible is an area that's going to exist in the lower third of our squares through here. When I'm drawing in my nose bridge, notice how it looks almost like an L shape that's happening through there, just a backwards L shape. I'm going to try to establish arcs and I'm very conscious of trying to make things very clean and clear, avoiding the road mapping that we've discussed, and just trying to identify the shapes within our drawings. Now we're going to establish the circle for the eye, and then we're going to establish the jaw bone, otherwise known as the zygomatic bone. But when I'm discussing this, I don't like to get too scientific with the names just for myself. I personally don't remember them all that often. But I know I have the cheekbone. I have the jawbone. I have the front of the head. I have the nasal bone. And that's what I'm trying to establish here. And as you can see that I'm working on these shapes, keeping them very simple, very iconic, and not worrying about all the different details that you might be tempted to try to put into your drawing. So at this stage, try to avoid that as much as possible. What I'm doing now is just blocking in and finishing that shape for the nasal bone. You can see it almost takes on a triangular shape through there. And look at the angle of the teeth, even in that rectangle. They're not exactly a perfect rectangle, and the eyes not exactly a perfect circle or even a perfect oval. But we can start to find these darks by establishing those dark shapes. It really helps us understand a balance of the skull. Let's start from scratch. So the first thing I'm going to draw is my square. I'm going to find my centiline. Establishing my centiline right down the middle is going to tell me where my ear would actually be on someone. The next thing I'm going to do is start to draw in my cheekbone. And you can see I've almost made it look like a chicken wing, so to speak, and now start blocking in my shapes. And that's, again, the most important thing to do. I'm going to hit up my details just a very little bit. It's just my own personal touch that I like to put on things. I don't want you to give yourself too much pressure, but you're going to want to draw this many, many times. Don't just settle on it the first time. This is very important when you're going through the practice of the skull. I 22. Cartoon Skull Front: First lesson we discussed about drawing the proportions, breaking it up into thirds. And now we can take the same concept and simply start squashing and stretching it just by making it either long, make it narrow, make it wide, make it any sort of shape that you wish. And we're going to go back to our basic shapes, drawing our circles, our triangular shape for our nose, and then also adding the extra features such as the skull and the teeth. Just a quick note with the teeth, just to keep in mind, it's important just to know some of the basics that we're going to have about 16 teeth on the top and 16 teeth on the bottom for a grown adult. So keep that in mind. You don't have to apply it with every drawing that you do, especially when you get cartoony, you can start to limit the amount of teeth that you're going to put in. So now, again, as I'm going back over this, you can see that I've built up my basic shapes, and this is why it is so vital and important to have your basic shapes drawn out. From there, we can start getting into the details. One of the biggest mistakes I made when I was younger was I rushed to the details way too fast, and because of that, I didn't understand the construction or the form. So make sure that you slow it down, find those shapes, and you can start to add any little details like I'm doing onto your drawing once you've completed that with your drawing, okay? Now I'm going to just start creating just more cartoony shapes. This is unlimited. The goal is to have fun. You can have your character give them eyeballs at a cross eye. You can give your character just a couple of teeth. And again, don't feel that you need to rush right into the shading. You can see, even though I'm moving fast because of the sped up video, I'm really moving all over the place. I go from one eye to maybe the nose and then back to the shape, and you constantly go back and forth, trying to find what it is that you really want to say about the drawing. You'll notice, too, that as I'm drawing these skulls from the front, I might give them eyelashes. I might give them a little bit of expression with their eyebrows. When we get into drawing expressions, you'll learn how important eyebrows are in order to achieve that goal with your drawings. So now that I blocked in my shapes, if I want to add any sort of shading, I can come in and do that. No right or wrong exploration, and feel free just to stay loose. Let your drawings just flow. You'll be surprised what you can come up with. So really enjoy this process. 23. Cartoon Skull Side: Learn how to play around with our proportions using just a rectangle for the side view and breaking it into thirds. And that's what we're doing here, although we're making one longer and one wider. From that point, I want you just to go through the exact same process, drawing the skull, drawing the side view of the face, looking at the little chicken wing that's almost on the side that replicates the bone through there. Where the nasal bone represents a backwards L shape. And we go through this, but all we're doing now is just stretching it, thereby giving it just a lot more of a caricature feel, squash and stretch. Now I'm going through the process of doing the same thing, but without the grid, I'm just using shapes. You can see I've built my skull shape first. I built that bottom rectangle shape, and I stretch that, too. And from there, now I'm just using our basic shapes. And this is why it is so important to make sure that you're not only thinking about shapes and blocking those in every time you draw but also making sure that you're not rushing things. This is going to be just very important. So now we're just dropping in these different shapes. I've stretched this. I'm giving some different expression. I can add an eyeball. And you see I'm just skipping around. I'm jumping around from one place to the next and letting your ideas flow. And this is one of the major ingredients of designing and drawing is not being restricted whether you think something is right or wrong, if you've put down the right line or the wrong line. What this is about is pure experimentation, but having a real understanding of these basics. 24. Mens hair: I don't want you to think about style. I just want you to think about these basic concepts. The first concept is head wrapping. Think about how the head shape is and how their hair, not the actual full on shape, but how it wraps around the skull of the head and the direction that their hair is going to go. We can think about that afterwards. So no matter what direction the head is tilted, turn, that's what I'm thinking about. And you can just do a layover on top of photographs like I've done. But look where the hairline is. The next thing is the V shape. Look at the V shape that happens, and this is usually where that little point is, and it usually just lines up with the outside corner of the eye from where the part is, so pay attention to that. The next thing is the W plane. This is if someone's going to have some side burns, look at this simple W shape that I can lay down on the side of the head that's going to show me that shape. Now once I've got my head wrapping, I'm thinking about the parting point. Look where the part goes within the hair. It's usually right along the side plane of the head. And again, when you do tracings, you can start to find this. And also, once we've discovered that, now we can start to add just the shape, and that shape can go into so many different variations. When we discuss the female, it'll be the same and once we determine that shape, now we want to start thinking about the hair direction. And this is why I think it's so important to make sure that you do tracings on top of people and heads just to truly understand. So as I'm going through this process and I'm drawing from scratch, I can create my character. I'm going to start to think about the head wrapping. I'm thinking about that W shape and how just that part lines up with the corner of the eye. Then I can put together that shape and then the direction of the hair flow. And this is something I'm always going to keep that head wrap. I'm going to keep that W. The only thing that's going to change now is the shape of the hair in the direction of the hair, and that's the directional flow if it's going up, if the hair is going to be going down, if it's flat on the head, if they got long hair, if they got short hair, it becomes, you'll always know that the hair is really coming from the root of the head and going in any direction that you choose. You get to choose which way you want to part your even if the guy has a pompador like this, even if the guy has long hair, that hair is going to be going down. Again, I don't want you to think about the style. We want to keep things nice and formed. We don't want to make things flat, like I've shown here with hair. As I'm doing an overlay through this, look at the different patterns that can happen in the hair. So this is a great way just to block in shape, and it also gives us a directional mass and a directional flow. Just by breaking up these shapes and these patterns, and you can see just through those arrows which direction I'm throwing those. Now I'm drawing the side plane of the head. I'm just determining right now what I want to do in regards to hitting that W plane. I got the head wrapping going on, and now I can start to build upon the directional form that I want that flow. If I have hair or ponytail, I want to think about the directional flow that that hair is going down on. So as you're practicing hair, the best thing to do after you've done your tracings is start to do some drawings. It doesn't matter, again, what style, whatever you want to do, but just keep this in mind. All I'm doing is building up the same aspects. I got my skull, and the hair is going to be the very last thing that I think about. And notice where I place the parting point in the hair which to that corner of the eye. I get my directional. I get my W shape. I'm getting my head wrapping and now I'm starting to build my shape on top of and now my hair flow, I can put as many lines as I want for that hair flow. I could do every single strand of hair if I want to if I really wanted to get into details, or I can really think about simplifying that shape, which I personally like to do myself. Again, as I'm thinking about, well, let's add a ponytail. The gravity is going to pull that hair down, and that's why it's very important to make sure you think about what direction the hair is going to be flowing. So for an exercise for you, I encourage you just to always go back to drawing what you've learned in some of these previous videos, just drawing the head, starting with the skull, starting with the jaw creating those shapes, start putting in just indications of the ear, the eyes. And here I'm doing my head wrapping but using my W. Again, that line, that parting points of the hair, the part can be on the left side, it can be on the right side, and then we can start to build the shape. So again, don't worry about style. Have fun with this, enjoy this. Just the most important thing is to practice it as much as possible, okay? 25. Finding The Cross Section In The Face: Tilts of the head using the Poe's Book three D, again, starting with the circle, establishing the cross section. And that's what it is, where the eyes and the center of the face, and then I'll establish just where my nose is and my mouth is. And at this point, when I'm even drawing the circle, you want to think about the side plane of the head as if you were chopping off the side, the best place that you're going to learn a lot of this technique from is Andrew Loomis, who put out some great books on this whole process, and it's a method that I use, as well as many other artists use in order to establish their characters. And now what I'm doing is, again, establishing just the circle. That's the cranium. Sometimes you'll see me start with the full shape of the head. Other times you'll see me just start with just circle and build from there. And then, of course, I can start to make up the rest of my character. But, again, this is something that I highly encourage you just to practice, even this construction, because that's what it comes down to. These one of the things that I didn't understand when I first started out was constructing and rotating the head. But this is going to be one of the most essential things that you can learn, which is going to help you create many different types of characters in your style. Most importantly, have fun. 26. Head Construction: Off of these basic shapes here. These were from Poe's book three D. I'm starting with my main circle and starting with a rectangle shape. From there, once we know that to start with the basics and just blocking that in, then we can start to think about the spacing of where things may be, and you'll go in that sort of order. I'm just working down from my eyes to my nose to my mouth. You can make the mouths, any shape that you want. You can make the nose, any shape that you want. But this will set you up when you start sketching out the character. And I think this is a very important thing to really get in the habit of doing and establishing this, eventually, you'll find the more that you draw, you'll start from anywhere because you have all this knowledge underneath you. Now I'm starting with an oval, almost like an egg shape. And through here, I'm just establishing my center line, my eyeline. As I'm wrapping it around the form and also the side plane of the head. This is one thing that I would encourage you to look at just the separate shapes. Look at the side plane of the head, look at the front plane of the head and see how they're really different and it moves in space. It gives the illusion that the jaw is moving backwards. And now I know that I can keep my mouth within that front part of the shape as I start developing again, keeping in mind just the understanding that the head is going to be tilted up and that's causing more of that shadow underneath. Also, keep in mind when you're drawing ears, they will follow the eyeline. And if the head is tilted up, the ears will drop down. And if the head is going down, the ears will appear to be up. Okay. And then now I'm going to start just developing more of my sketch aspect, my details that comes later. And here again, just starting with that quick oval, that's just establishing Think of it just as a ball, establishing the overall structure of the skull. And now I'm even just pulling out just some of the face and the jaw just a bit. I didn't make it so sharp, but I'm still thinking about the side plane. And also, what I'm going to do is keep the mustache, keep the muscle. All on that front plane. So we have the side plane and that front plane as it gets broken up. And from here, you can really start to make up any character you want, but this will start to come more easily for you once you go through this process. And that's why I highly encourage you to make sure that you're really taking your time to learn these basic fundamentals in order to move you to that next level. And now starting this character, now I'm just making something up. I'm just drawing the woman's face here using that tilted aspect, but going through the exact same process through here. And it's really establishing the eyeline because I find once I establish that eyeline and I put my landing marks of how I know the head's going to be tilted, that makes my whole drawing just start to work from there. I'm also very conscious when I'm doing this about not making everything so symmetrical. And that's what you'll find when you look at this, maybe one eyebrow is higher than another eyebrow, and those are things just pay attention to. And lastly, here, as I'm doing this one, starting just making the face even skinnier, changing the angle, drawing something just a little bit different here, and I can add just a little bit of an expression if I want to. Again, I'm keeping that mouth on that front plane, and then I can add my ears and all the other details afterwards. So this is really a great habit to get used to doing. I encourage you to practice, always starting out this way, especially in the beginning, but you'll find you'll do it a lot even towards the end. 27. Drawing faces Usinng Pepper Shapes: Today's drawing objective is drawing from shapes using peppers in order to help us establish really what we're trying to build up whenever we're designing. And that is making sure you're starting with your shapes, and through your shapes, we want to learn about the construction, the perspective, and then we start to consider the placement in our design and the final. So that's a very important thing, and really in that order to go in, you're seeing what I'm basing this on is that primary making sure that I am thinking about the construction. Where's my center line? You'll see that I just keep placing the center line in different places, and that helps me determine also the tilt of my head. But through that, I also have to be very conscious. In order to have more of an effective drawing, I need to think about the perspective. As I start to just draw this one, you can see that the eyes are going further to the right, are right there, and the nose and the mouth and the chin is all moving in that direction as the head is being tilted away. So once we understand that, then we can start to make more structural choices out of our drawings, and I think that's a very important thing. And then after that comes more of your exaggeration and start thinking about just your placement of all the features within there within the exaggeration. And then eventually we're going to get to the cleanup, and we're going to get to the final, whatever that may be. And you're going to have many different choices of how you want to approach the cleanup. Are you going to use a certain style of line? Is it going to be a thin line, a thick line? Is it just in pencil? Is it going to be colored? But that's really irrelevant at this point because what I want to just reiterate again, as you're watching this, just to really make sure that whenever you're drawing, you're considering those shapes and the perspective. It's so vital to make those drawings work. And that's the biggest thing that I've seen a weakness in a lot of portfolios is that basic construction and building of feeling into the character, not having an understanding of perspective on how to maybe make sure that the eyes are going in the right perspective direction. And that really makes a big difference. You can see with this pepper, just making more of an alligator's head. So you can do it with animals. You can do it with people, but it's always going to be the exact same principles as whenever you're designing. So try to keep that in mind. And when you're doing tracing on top of people's artwork or photographs, you want to think the same thing. What are the shapes that I'm looking at here? How can I make those work. Okay, now I understand my shapes. What's that construction? How does that work underneath? What's the form direction? Okay, let me figure out the perspective, and then you can start worrying about, once again, all the details loss. So what I'd like you to do is go into the assignments and use the pepper chart that I have there and create your own pepper faces and then see what you can do. But make sure you're considering your shapes, your construction, your perspective, and then you're going to start getting into all your final little details from there. Take your time with this. Don't rush it. Once you start to master this, you'll have more successful drawings and you'll be really happy you've gone through this. All right. Have fun. 28. Finding Expressions: What I want to do intentionally is I don't want you to get caught up in the exercise of just making sure that it looks just like the character and that they're all consistent. And because that starts to distract you, you start to get too caught up in making it look just like the character, as opposed to just letting your mind your hand be free as you're working on these. What you can see that I'm doing is I'm starting with these exercises with almost like the line of action first, just the direction. And then the second most important thing is just drawing the eyeline. Because once we establish the eyeline, then we can start to build up the rest of the facial features from there. And now here I'm going to change his hat just a little bit. Again, I don't have to make it round or just follow that and just changing his expression just a little bit more because what this does is just gives you a quick idea, just some place to start, and that's going to be the most important thing. Again, starting with that centreline draw your eyeline, and then I went around and built the shape of his head on this one, almost the outline through there. And that's what you're going to go through these different ways of doing it. But don't neglect that underlying construction because if you miss out on that, if you don't find out where your centiline is, you're not going to be able to get the sort of accurate character that you want. Remember, the jaw can always move. It's very pliable. But where it's really solid as a rock is your upper part of your skull, where your nasal bone is and where your eye sockets are. So you keep that consistent. But everything else around it can start to move because it becomes pliable. I mean, even the nose, right? I can bend, we can shift it. On this one, I just was trying to play with different hats and just wasn't happy with the direction the hat was going. So again, never feel bad about erasing or deleting when you're working on things. 29. Finding The T Shape: Take these photographs, and this is what I want you to do. I really want you to gather your own photographs, but just find different rotations because putting in the work to do this is where the practice comes in. And what I'm doing here is I'm creating the first t just around the eyes, and then I'm following the lower part of the which is wrapping down through the face. It covers through the nose, it covers through the mouth, and it goes down to the chin. And now I'm building up my sphere, my cylinder. This is just acting as my skull, and a great way just to find that shape is just start with the top of the head, especially when you're tracing over the photograph. So this is a great practice. And here from the next step you can see is now I'm just pulling out the features like the nose. So the nose and the mouth don't have to follow exactly in that T shape, but you got to imagine them like three dimensional objects coming out of that shape, like I'm showing here, we don't want to have to see just it be too flat. And then the next phase from there is just thinking about how the jaw is going to work. We can change the jaw, but we got to connect it somehow. We got to put all those elements together. And through the practice, what want to do in order to benefit is, again, starting with that T aspect and start to build from there, from the nose, from the eyes to the nose to the mouth, and you can see me doing it again. I'm even changing the skull shape. It doesn't matter. It just becomes a landing point. That's all I'm trying to do here is just trying to find just a really quick interpretation of where I can place and create the angle of my pose. And like on this one, you can see again, pulling out that nose three dimensionally. I'm going to be to pull out the mouth and open it up if I want. But I'm still following the direction of the form, and that's the most important part about following this. So for your assign I'd like you to do is gather some of your own reference and tilt and look at the different rotations of the head, do tracings over them, and then the next phase of that is just to draw your own version. And here I just lastly just want to show I'm still thinking about the skull that's going to be underneath that face. 30. Adding Facial Features: What I just kind of want to mention here in regards to the basic concept of avoiding the bowling ball is if I have a bowling ball and I just take those three similar shapes, imagine the bowling ball. It's very similar. In order to create more contrasts within our design, we want to think how we can avoid the bowling ball. So that might be too big eyes and a small nose or it might be too small eyes and a big nose. Now, it doesn't matter if the proximity of them. It's all going to be about if I take a shape and do something like this, but I have two eyes. I'm thinking about, well, my nose is going to be maybe bigger, and it's down there, but there will, of course, be that connection where, say, I have this person's nose through here, and again, they can just have, again, whatever sort of shape it's going to be, I can start that becomes like my building block to build the actual frame of that nose. And then whatever those eyes are going to be, the eyes can be small or large. I can start to lose these shapes. But still the idea is that I've avoided the bowling ball. Maybe, again, I have a character where I'm doing something like this, and I have those eyes which are going to be really big and I make that nose really small down there. Well, from there, again, that idea is just like that nose, the cartilage there sort of represents that. And then we got these nice big eyes and the smaller nose. And we'll see this happen a lot with animals. You may be drawing an animal or working on an animal. And if you maybe have those big eyes, and maybe that nose could be smaller, you know, through there with that animal, or you're going to be working on that character, and you have just maybe those small eyes, which are on your character, but now he's got that big giant nose through here. All right? So it starts to add what it does, it just starts to add just a lot more contrast into the design of what it is you're just trying to achieve. And that's what we want to do when we're even working on something like these characters down here. So, what I'd like you to do with this exercise is just try to think about avoiding the bowling ball right now, like I've done here. So I see you see these areas and look how big that nose is or you see how small that is comparison to that. Same thing here, you can see how that bowling ball concept and theory is used all the time in design. And it's not just my design. It's a lot of designs, and you're going to want to start breaking apart just other people's designs. So we always talk about you'll see in other lessons. I discussed sods and that's shape or at a distance size. Right now, that's what we're playing with is the shape. So maybe these eyes are way up here. Maybe these eyes for the order and the distance, maybe the eyes are going to be really smaller and they're close together. Maybe you're going to have the eyes which are further apart, but they're longer. Maybe we can have, again, just really big eyes right next to each other. So now we can see just a lot of variety and a lot of and where that bowling ball aspect is, well, now I'm going to maybe make that no smaller. This one I'm going to make bigger. This one I might make just a medium shape, and this one, I might just make a medium shape. And from there, this is all I want you just to kind of really focus on. If you want to add the mouths and everything else, feel free to do so. But what I really just kind of want to get at is the concept of really playing around avoiding the bowling ball in your design and trying to create some different shapes and different ideas. And so we got the big eyes and the small nose here, and I might even just start, make that nose just a little bit smaller, right through there. That just becomes the shape. And then whatever the eyes are going to be. And if you do want to add a mouth, again, I can play around with my shape or a distance size and play around with any of these sort of shapes, whatever it's going to be. It doesn't really matter but now I'm adding a sense of design into my character. Of course, you can add the eyebrows, later, do whatever you need with the facial features. Because what we're really just playing around with are we have the eyes, okay? We have the nose, we have the mouth, and we have the eyebrows. So it just becomes one, two, three, four little areas within that face shape. That's the area that we want to start playing and manipulating all our designs with is, how do we move that around our space. 31. Quick Drawing Of Sara: 60 seconds to draw face. Let's go. Let's just draw a couple of ovals through here. I can make those nice and dark. I'm going to do just a little sort of V shape through there and the mouth, I'm just going to make a nice little moon shape and just put some nice little curve underneath there. Maybe I'm going to shift the eyes to the side. From here, I'm going to draw a nice little C shape, go straight down, take a line going straight across through there, bring a line down, draw a little circle shape, half moon through there. And now from here, I could just get a nice swooping shape and drop it down and create any sort of character you want and through here maybe a couple little extra pieces of hair. Maybe even a little shape inside the ear. If we want, we can even add some little eyelashes to our character. 32. Quick Drawing Of Frank: Alright, 60 seconds to draw face. Let's go. Let's go ahead and just draw a big old shape that looks like this may even look like a little fish shape. I'm just going to put a couple of oval eyes right next to each other. And then I'm just going to take a long U shape going all the way down. Let's just add some little lines underneath his eyes. Let's give him some hairs on the top. Let's give him a sort of worried expression. And maybe this guy has a mustache. Let's throw a couple little lines for his mustache there. Let's open his mouth with a little letter O. Let's use a U shape for the bottom of his lip. And then I could just add his chin right here and let's throw his ears. I'm going to put a couple of lettuces on the side just like that. Let's get those eyebrows, maybe one down here and one up 33. Quick Drawing Of Yvette: 60 seconds to draw ahead. Let's go. I'm going to start with a nice little backwards P shape through there. I'm going to do a nice little swoop, get a bunch of little ws through there. I'm going to pull that down. Let's just make this a hat on this person. Let's just grab some lines through here. Let's pull that line just straight down. Let's get a nice almost S shape through there. Nice little backwards S. From here, I can get the eyeballs. I'm going to make a nice little V shape through there. I'm going to get a nice little shape for the eyebrow, and now I'm going to just wrap this all the way around, again, a nice little C shape, pull this out. Pull that out and now from the mouth, we could do any mouth shape we want. Let's just do a nice little moon shape through here going in that direction, and we can add a nice little bottom lip right through there and before you know it, you're done. 34. Quick Drawing Of Steve: 60 seconds to draw face. Let's go. Let's start with a swooping C shape. Let me do a little B shape or an E shape through there. I'm going to pull a line just straight down there, and let's pull a lip out with a little C shape, and I'm going to pull that back and make a straight line through here. So now that becomes his mouth, and now I'm going to pull a line that just wraps around his mouth through there. I'm going to make his eyes little small and beady. With a bunch of little C shapes through there, we can add some little lines for his eyebrow and let's give him some hair with a bunch of little M shapes, go straight down, another little C shape through there, and before you know it, we're all done. 35. Quick Drawing Of Rachel: 60 seconds to draw a face. Let's go. Let's start off with a nice C shape. Let's draw a little backwards bracket through there. We can pull a straight line down. Let's just pull a nice little W shape through there. We can thicken that mouth, the lips right there, just a little bit. I'm going to give her a long chin with a nice L shape. I'm going to pull that down. Let's get a nice swooping shape for the hair. Let's bring that hair all the way to the front with a nice swooping shape, pull a line straight down. Let's get a nice V shape with a line going straight there and a little eyebrow on top. Let's give some freckles or something through there and before you know it, you're done. That's it. 36. Quick Drawing Of Jerry: 60 seconds to draw face. Let's go. I'm going to draw an L shape there. I'm going to draw another shape there. And then I'm going to swoop that all around, I'm going to draw a little C shape, pull that down, maybe give this guy a nice big thick neck. From here, I'm going to just draw another smaller shape for the nose, the little W. I'm going to put in a couple little eyeballs there. I go to get his other eyebrow up here. And then from here, we can just give any sort of mouth we want, but I'm going to pull his mouth way down here, turn it at an angle. Give him a couple of little lines for a smile. Let's just give him some hair through here with a nice little swooping shape like that. Let's continue that over here. We can add some lines in the top of his head, little bags underneath his eyes, add a little C shape for his ear. And if we want to, we can add a V shape for his collar. I'm going to do a swooping line down there just to connect the face, a little line underneath there for the lip. 37. Quick Drawing Of Esther: 60 seconds to draw face. Let's go. Let's draw that line, swooping line up here, and then I'm just going to draw another line and connect it through there. Let's get a little M shape through here for the hair. Let's put a little C shape for the ear. Let's add a little bun up here with some hair on the top. Let's get some nice big eyeballs. Maybe we can make one big, one small. And then I'm going to make an even smaller little nose through there and the mouth, let's just make a nice long swooping shape. We can put the lead to M for the lips. For the top lips, I'm even going to move that bottom lip to the bottom, shift it over. Let's add a little line that connects the nose to the mouth. Let's throw some eyeballs in here with another expression. Let's just change the eyebrow with a couple little shapes through there, little streaks for the hair. 38. Quick Drawing Of Betty: 60 seconds to draw face. Let's go. Let's draw just a big old U shape through here. I'm just going to cut it across. It goes straight line, straight down, and I'm going to do another C shape. Put the letter S in it. Why not? And then I'm just going to do a bunch of little M shapes back through there with a straight line. I'm going to throw a nose just like the letter L or a letter V, and then from here, straight line down. Let's just draw moon shape underneath here, and then let's just give a little chin with the letter and let's get an eye shape that looks like a triangle through there, and then we can get the eyebrows on top, finish off the neck through there, maybe a a little nostril with a U shape. 39. Quick Drawing Of Teddy: All right, 60 seconds to draw a face. Let's go. So let's start with just a nice line out on the outside, bring it back up. Let's do a nice little C shape back through here there. What I'm going to do is just finish that off with a round shape. I'm just going to draw the letter U with a nice little shape up there. Let's just give this guy one thick eyebrow going across here, a couple little O's and we'll put those lines close together. Let's just take that line straight down. We could just put the letter U underneath there. Then let's just open his mouth with a little smile, let's draw moon shape, do something like this, and maybe add some extra little lines in his head. 40. Quick Drawing Of Sam: Okay, 62nd head sketch. Here we go. Let's just start with upside down U shape. Let's just make another little shape. Looks like a vase. Let's give this guy some glasses. Let's just draw a B shape coming through here. And now I'm just going to draw a straight line with a little backward C. And then let's just give him another big swooping line for that and we can add a U shape for his chin, put some lines for his little mustache, throw in a little couple dots for his eyes, and let's just give him some hair up here. Few little lines and then let's just put some C shapes on both sides right there and can end it with, let's just give him some mean eyebrows. 41. Quick Drawing Of Graham: Okay, we're going to do 62nd head shape, whatever you want, grab whatever sort of pencil you want to grab. Maybe I'm going to draw a little keyhole there. Just going to put a backward C and another backward C. Let me take the letter Z. I'm going to put the letter Z through there. Let's just give him a U shape for his mouth. Gonna put a couple of little Os for his eyes and a couple little bags underneath there. And let's just give him a little bit of a worried expression with another couple little lines, and then just a few lines for his hair. There you go. That's the 62nd head sketch. Have fun. 42. Quick Drawing Of Jean: 60 seconds to draw face. Let's go. Let's just draw a straight line through here. Let's get a nice little letter G coming through that shape. I'm going to pull the mouth out in a nice bracket shape and then a nice little V shape. And I'm going to pull that chin in just a little bit through there. And now from here, I'm going to get some nice swooping hair shapes in there. Let's just make this a side profile of a woman. We don't know. We just practice here and see what comes out of it. Let me get a nice little V shape for the side with my little I through there, a little bag under the eye. Let's just connect the muscle with a nice little C shape through there. We can then add some lines for the teeth. If you want, you can add some extra little lines for the hair.