Drawing Expressions and Caricatures

1. Introduction: Hi, I'm David Fincher, EBITDA comic book artists for over 27 years. I've drawn long runs of all your favorite characters for Marvel Comics and DC Comics Image and many others. And over the course of that, Evelyn, so many things that I want to share with you, especially all of the shortcuts and acts that I've learned over the years to make my work faster and better and easier to produce. So I want to welcome you to my new course all about drawing expressions and caricatures. This one is massive with over three hours of content. We start with simple expressions, then focus in on each individual feature. From there we start opening the mouth and working with the teeth, and then we bring it all together, drawing several examples of both male and female faces using a wide variety of reference to help us. Along from there we explore a wide variety of different head shapes. Start to play with feature size and variation, and then bring all that together to create some unique characters of your own. Finally, we go in depth with two fully rendered heads that take everything we've learned so far and put it into practice. Also, I provided lessons along the way for you to complete so you can get the absolute most out of this course. Thank you so much and keep drawing. 2. Simple Expressions: Alright, started out, I wanted to eliminate as many variables as possible by starting out with the same head directly from the front. And I just went ahead and trace it out a bunch of times across the page and I've got it listed. My first one here is just a neutral expression. So this is just a base head and it's just flat. And for all of these heads, I want to make sure that my head dimensions stay the same. So I'm going to keep the mouth closed because obviously when you open the mouth, it lowers a jot and can change the shape of the face and we will get into that later. But for right now, I'd wanted to concentrate on just some simple adjustments to the key features of the face, the eyes, and the mouth especially. And see just how much range you can get just by adjusting those simple things. And so to make an angry face, the drawing my eyes. And I'm taking the eyes just a little bit there, just a little bit more closed. Nothing too profound. And then I'm going to lower my brows down entirely and especially toward the center. And so I've taken my brows that were just up here and lower them down completely and brought them inward. So they're closer together in the center and then they're just lowered down. Drawn by Noah's. It really won't have any change. Still a fairly neutral expression, and we'll get into more extreme expressions very soon. But for right now, I just want to use simple feature adjustments as much as possible. And because of brows are coming inward and they create creases in the center just like this. And you can accentuate that by increasing over the nose just a little bit to you. And the mouth in a neutral expression is like this. I'm just going to bring it down just a little bit more and make it just a little bit tighter. And so I'm just bringing down the corners of the mouth just a little bit. Not much at all. It really doesn't mean much. There's a very simple angry face without adjusting any major features of the head, without adjusting the shape of the head, and only manipulating the eyes and the mouth. And now we're gonna do the same thing and make a happy face. And for a happy face, what I wanna do is the bottom of the eye, I'm going to bring up just slightly. Genuine, happy face also wrinkles the eye. I'm going to leave the top alone. And so really my only real adjustment is just changing the slightly bowed downward shape of my neutral face and bringing the eyes up, I'm going to leave my brows exactly the same. And my mouth, I'm going to draw a much more straight across. I don't want end up with a situation where I'm trying to do something that's more of a cartoon upward curve because it's really not what actually happens. My nose finding again in the mouth ends up being slightly wider because it's being pulled up in the corners. You can actually draw a bit of wrinkling around the mouth like that. And that's a very small smile. We'll get into the kind of deformation phase can take if you've smiled more broadly, but for right now, again, very, very simple feature adjustments. And now for the next phase, we're going to make him look sad. We don't want him to make we don't want him to look afraid. We want him to look at. And so going to lift the inside corners of my eyes, lift my eyebrows up towards the center. Still it's fairly subtle. The outside say the same. They don't lower it all the arrays at all. In really the skin around the eyes, the eyebrows make some movement upward just like this towards the center. They can come together just a little bit, but you don't wanna get too carried away. We're going with relatively subtle expressions to start. And I want these to be fairly subtle, especially because I really want to show just how much expression you can get with very, very little actual change to the face. And I'm going to downturn the mouth slightly again, just like with the frown, maybe a little less. So for our next example, we're going to make him look afraid. And the first thing that I want to do later this down just a bit, is I'm going to make his eyes whiter. Go with more of a hard line across the top. And a Fried is a bit of a difficult expression I'm finding to do. I'm going to bring his brows together and bringing me inside out. But he's frowning. But you can see that he's lifting his inner browse right here. To the isolette. Very tense, especially with a harder line drawn across the top and mouth state or the lowest status esteem. I'm going to slightly open lips at least. And that's afraid now, I can do quite a bit more with really all of these and make these much more extreme and more expressive by moving the entire face around again. But we're keeping this as simple as possible to spherical. And so now we're gonna do surprise in for a surprise, I wanted to entirely open the eyes are very wide. Lift my eyebrows right here. And surprise is the most difficult ones to draw without making adjustments to my jaw because generally speaking, surprise has an open mouth. And so I'm gonna do my best here to see what I can get across. But this might not really be the most surprise look that I could possibly get. Just there's just as a result of me keeping my mouth closed just for these examples. And so there we go. There's a very simple range of basic expressions keeping the head shape exactly the same, not opening the mouth in trying to be as consistent across the board as possible to isolate it to just what we can do with the shapes of the eyes, that direction and placement of the brows and the shape of it. 3. Eye Expressions: Now that we've got that, I want to go ahead and start to break down the features in terms of their movement for expressions starting with eyes. And so I'm going to draw a standard I in just a neutral expression. And draw the other items on the other side. And got a little small on the side here. Let's go ahead and fix that, make them a little bit more even. So here's my basic eyes just with a neutral expression. And it's important to note that when you have your eye open and I'll draw another I just open here and this is just my standard I that I drew before. When you close your eye, your upper lid is the one that closes much more than your lower limb. And so if I draw an eye where my lid is mostly closed, I'm going to draw my upper lip much lower here and my lower lid will stay the same. And so you need to know that when you're drawing your eye, here's my eye from the side. And I close the lid. All I need to do, It's closed the upper lid. And I can obviously close it all the way down. And so there's an I that's completely closed in my upper lid is really the only one that's moving. The only time you really adjust the lower lid is when you tense your eyes. And so if you're smiling and I'll draw eyes that are smiling, I'll draw my standard, I guess my eyebrow. And in order to make my I smile, I'll just bring up the lower limb just a little bit. And that's because when you smile, you're lifting your cheek and your cheek naturally slightly lifts your lower lid also with it. And so it just comes up just a little bit. And so from here, I'm gonna go ahead and draw an angry I. And so I've got my standard I hear. And here's my brow. And in order to make it angry, we covered this just a little bit earlier also. But what I wanna do is close the eye just a little bit unless you want somebody wildly angry, in which case you can leave the eye a pretty wide open. And bringing down the brow heavily would give you a good angry expression. And you can get a little bit of crinkling around the eye or just around the outside also, in basically the way that the crinkles work is they radiate out like this. Obviously you don't want something that looks quite like that. You want to create some nice interlocking. And you can also go and we'll cover this in a bit too. But you can radiate lines out from the eye over the nose and get some crinkling over the nose also. And to make an eye look really surprised. What we wanna do, I'm going to draw my standardized. And we're just going to change it by, I'm going to lighten it down. I'm going to open it up quite a bit. Opened up the top and I can even bring the bottom down just a little bit also. And then raise the brow. And that will give you very simply a surprised I just opening up a little bit. And with the brows, they're drawn a pair of eyes and I'm going to draw the brows and a few different positions and leave the eyes alone entirely and show just how much expression in character you can get from your eyebrows. So here's a standard pair of eyes with a neutral brow. And if I lower one brow, I can make him look just a little bit inquisitive, especially if I lift this brown. So this brow is lowered in, this brow is lifted here. In order to really sell that. You really want to open this. I just a little bit more and maybe close as I add just a little more. And that can make your character look a little questioning, maybe a little skeptical. It's very easy to do that just by raising one brow and making a character look afraid to draw my standardized again. And it really is just a matter of bringing the brows together and lifting them in the center. So not really raising the brow, but what I am doing is pushing them together this way. And then just raising them up slightly. And whenever you bring your brows together, you're always gonna get wrinkling on the inside. And so let's do that. Get my eye is drawn in here properly. And what I'm going to go ahead and do is bring the brows together. And when they come together, this wrinkling, I'm going to define a line here for this brow coming in. And for this brow coming in, I'm going to define another line in because we're looking at the face from a bit of an angle. I want rail lines to all followed this kind of a shape, basically like this all the way through. And so to do that, draw that shape here. And then that shape here for the other one. And then I'll get a little bit of wrinkling between them. And I it's really important to me that I make sure I don't want to have one shape, another sheep and another shape. I really want to break it up. And so let's clean that up just a little bit. Give that shape a little bit of character. Just like this. Bringing in another shape between another one in here we will draw a bit of a smaller shaping here. In them. A shape for my other brow. Let's fix that up a little bit. And there's a bit of a pocket in here generally. And so I define that usually, just like that. And you can draw it on the other side too if you want. It can get quite a bit of character between your eyes. Just by drawing that natural wrinkling that happens when you bring your brows together. Once we've got the features kinda worked out in the different movements that they can make. Withdraw some faces and a lot more detail. And we will really get into how to make these folds really believable. How to get some of the detail under the eye, all this sort of thing. And get as much character from our faces as possible. 4. Mouth Expressions: And now we're gonna go ahead and start exploring our mouth. And so here's just a standard mouth in a relaxed position. A really good way to make this work is to draw your upper lip and being in this kind of a shape and then attaching the lower lip right into it. And so I can bring my mouth together and get much more of a, a potty mouth shape. And when I bring the sides in like this, it really wrinkles in bunches, the actual lips. And let's do that just a little bit more cleanly here. And it causes them actually to raise up and down as they push inward. And I can make the mouth smile just by keeping my upper lip straight and not curving it upward. The only time you want to curve your mouth that word upward if you're looking down at your head. And I'll just draw a head very, very quickly that we're looking down on. Your natural lines of the face, make a curve around the front of the face just like this. And so your mouth would naturally have an upward curve along that. And so when you're looking directly at your mouth and you really want to make sure to not overly curve upward with your mouth. And so I'm going to draw in my upper lip and because I'm smiling and it's actually bringing the sides of my mouth out. And so it narrows both the top and bottom lip from where they would be when they're relaxed. And you can bring up the corners of the mouth and give it just a little bit of wrinkling just like this around the outsides. And that's all well and good. But the mouth gets much more interesting when we start to open it. And so I'm gonna go ahead and open my lips. I'm going to keep my teeth together at first here for a couple of expressions and then we'll actually open our jaw and I'll show you how to hinge the job properly when you open your mouth. And so I'm lifting my upper lip here. And so it has more of a rounded shape. And it goes down towards the corners where it connects to the lower lip. And here's going to be my lower lip. Here it connects in. Mit are just going to ride in here. I'm going to draw a line for where my upper teeth and lower teeth connect. And we'll cover teeth quite a bit more in just a minute fall. So from the side I'm going to open my mouth just a little bit here. I want to make sure it's amazing team. An angle from my upper lip to my lower lip. Give him a slight shift outward with the upper teeth and lower teeth naturally ride just under the upper teeth. And that can be different for different people depending on your bite. But the standard byte is to have your upper teeth slightly overlap with the lower teeth. And you can get quite a bit of character. I'm going to draw a mouth that's a little bit more angry. And I'm creating a bunch of tension around the mouth, just around the outside. And the sides of the mouth are much more tense and stretched. 5. Opening the Mouth: But in order to have expression that really hits home, we need to start opening the mouth. And that can start to create problems for a lot of people, just not knowing how the job works. And so I'm going to draw a head in a profile. Got my eyes lined up here, my ear. It's going to sit just like this. My nose, my mouth will be here. Here's the base of my jaw and this is my standard had that I use as a basis for all the heads that I draw. I'm going to have my nose just right here. And there's a standard head with the mouth closed. I'm going to show you what you really want to try to avoid. And that is, I'm going to draw the draw in more of a simplified skull kind of a way just to make things really clear. And it's very, what you wanna do is lower the job down. And so I can just lower it just like this. And now the mouth is a little bit open. But that's actually really completely wrong. And it's very easy to make that mistake because what we've done is we've just extended the length of our job bone. And so it's just a longer job. Well, and then it was before and obviously that's not something that we can do. What we really want to do is create a bit of a hinge. And so here's my upper GI here. My nose is just gonna be faster right about here. And my lower jaw, when it's sitting closed, it's going to be like this. And when it's opened, I'm going to go ahead and erase this. And what I wanna do is hinge it this way. And so I'm going to bring that back just a little bit and everything's just going to follow it. It's going to come down like this. And I don't wanna get too carried away with my hinging there, but and I think I've actually hidden, it's just a little bit low. Here's just a little higher here. And so the, the wider that you open your mouth. And let's do this again. The further you want to hinge back. And so I'm going to open it quite a bit wider and it's going to follow backward as it comes open further and your upper jaw stay stationary. It's really only your lower jaw that hinges. And so there's a mouth open much, much wider. And you can see that I'm hinging my job backward. And so if we draw a face from the front, what I wanna do here is hinged jaw downward. And so instead of being a straight line across for the lower jaw, it's going to, you'll actually see it resting open like this. And it's important to note that my jaw line here stays stationary. It doesn't lower because this actually doesn't get longer ages Hindus backward. And so a hinge it down from there. Try and keep it clean enough that it's relatively clear what I'm doing here. And let's take what we have here and start to draw some faeces with a mouth open in a much more expressive way. And I'm going to start by drawing a character yelling. Standard, three-quarter, basic kind of a view. Work with my shapes until I've gotta head bit. That works just. And regardless of the expression that I use, I always start with a standard head shape just to get my proportions in and then I adjust from there. And so here's my basic head. All right, and so to open my mouth, I want to make sure to remember that I'm hinging backward here. And so I'm going to bring it down and we keep my upper jaw ha stationary and bring my lower jaw downward. Just like that. And so the corner of my job stays at the same level that it was before. And I'm just hinging backward. And now that we have that we need to start to put lips over our mouth. And so I'm just going to draw my upper jaw. Lower jaw. I'm going to open it the same way that I did just down here. My teeth will be here and here. And we will cover teeth in much more detail in just a minute. But before we do that, we're going to draw our lips over our mouth. And so I've got my upper lip here. Come all the way down. Just like this. My teeth will show up just in here. And because my mouth is open and stretched, it makes my lips quite a bit more narrow along the top here and narrow up quite a bit. And the lower lip should be quite a bit more narrow and stretched out to here. And so from the side, I've got my upper teeth here. My lower teeth are here. They're angled because my jaw is moving backward. Dinner with my lips. And my upper lip connects to my lower lip just about here. And there it is. If I want the character to be angrily yelling, my mouth will open the way that I just opened it just a minute ago. And I'll bring my connection point downward too. But here, if I want a character to be smiling while opening their mouth, I'll draw my upper lip much more flat. In Connect way up here. Keep my lib pretty narrow again. It is important to note when you open your mouth, you, your cheek actually stretches from, here's my nose from this point right here on the nose. It comes around the mouth. And so on the other side it would connect spot like that. And then the jaw from the chin can also create a crease just like that, all the way up and around. And then under the jaw right here will connect just about like that. And when you're smiling, it's really important to note that you are lifting quite a bit here. And so it actually lifts your whole cheek and brings it outward. And this is a bit of an extreme. I'm really pushing it outward here more than I think. Let's fix that. It looks actually ridiculous. And so your cheek will come upward here. Now word here and result in a bit of a rounding and extension upwards, just like this. And you'll notice when I'm drawing my teeth right now, I'm just drawing them as a band. And it's much easier for me to draw it as a simple shape like this, and then put the teeth on top of it. 6. Nose Expressions: The last feature that I want to cover before we move on and actually start to draw some different faces from different angles and have fun with this and draw some different expressions is the nose. And so my standard nose, I'm just going to draw essentially from the front. And this is the basic shape that I'm working with. You've got the bridge of my nose here. And so there's my basic knows when there's tension placed in the mouth opens really wide, there's tension from this point here and it actually can bring them the nose, the nostrils upward. And so I'm going to draw it that nose again. And it can also flare them outward. So it'll be just a little bit wider. It'll be very careful with this. It's not over accentuate it or you can start to look a little strange. But it's something like an add, just a little bit of believability to what you're doing. So I'm bringing this point out to where the cheek stretches the nose out in the center. And so from the side I've got my nose just going to define in the lax knows my sheep's to find in. So there's my standard nose shape. And to adjust that, I'm going to bring my nostrils just a little bit longer and angle it upward and bring this whole area here up. And so I've got my mouth open. My cheek line is extending from where the mouth it's stretching it. And it's also stretching up by nostril. And it's the thing that is good to bear in mind just to give your expressions just a little bit more believability. It's a very simple thing really. The nose doesn't have a lot of movement and a lot of involvement in this expression unless you really want to get very caricaturist. But just that simple thing can add a lot of believability to an angry pose. And you can almost see, here's my, maybe it was to be Wolverine. He's got his eye teeth here and he's very angry. And you can see you that it's really creating a bit of a snarl on the nose, just bringing it up like that. 7. Teeth: So we've done some, most that are open. But when we do that, we end up with the problem of drawing PIF. And so I'm going to draw a band from my top row of teeth, banned from my bottom row of teeth. And my skull essentially. My nose will be just about here. Just quickly rough it in, just to give you an idea of the placement. So right there is going to be where I put my my teeth and they wrap. So I guess from a view looking up at the teeth, they would essentially wrap like this. And so it's important to know that while I draw them as a simple band, they actually have a bit of an inward tasks to them. And so I can draw the whole thing basically shaped like this from the top. And then the bottom teeth would shape like this. And so obviously this is a pretty ugly drawing just to get the idea across. But that's basically the shape that you want to go with. And the top teeth rest actually over the bottom teeth. And so we're going to draw some properties directly down the center of her face is where your center teeth are going to rest. You've got to center teeth. Then He's just to the outside and then you pay your eye teeth. And then for your bottom teeth and went a little bit along with those. So let's just fix that same thing, your IT right here. And then your molars come in behind. And so that's basically it for teeth. When the mouth is closed. And when I started to define them, I really wanted to define these connection points. That's where a little bit of shadow will build up. Clean it up just a little bit, make it a little bit more clear. And then these connection points at the bottom. So I have not really drawing the whole teeth. As an individual tooth like this. What I'm doing is drawing an overall shape and then defining it in just where the shadow pulls up. And so the finding and a bit of a shape here, just the connections between the teeth. And that really gets me an overall illusion of teeth. And as I come around the outside, especially if I'm reading from this side, I can actually start to draw the whole do you thin as it rounds towards the shadow? For my part, I don't draw in heavy shadow on teeth. So if I have a face that's overall darkly shadow, that ethos still be light. I'll draw in some heavier shadow like this along one side. But I definitely avoid. Just overall shadow. We knew the teeth because they're light in comparison to the rest of the face. And I just find that graphically it works a little better. And I'm going to draw, here's a tooth much larger, another tooth connecting to it. And I'm actually drawing a shape like this where my tooth connects in. And I'm doing that because the gums actually have some roundness and dimension. And so where they talk in rounds in this way. And then as they, as the tooth comes in at the top, you can see the inner plane of the gum here. So you would see it here too. I don't define it quite like this. That would be a little bit too accentuated, but that's really the shape that I'm dealing with. And so I really try to make sure to get that talk in here. And that really sells the teeth being pushed into the gums. So now when we open the mouth and I'm going to draw draw an open mouth just like this. I've got my top teeth here. My bottom teeth here, my lips around it and sketching all this in and we'll tighten it up. My center line for the face, have you been here? So my center TIF will be here. And I can just in a sketch phase, I've got my two center teeth, these teeth around it, my eye teeth. Same thing over here and make sure that it's even enough to center teeth at the bottom. My eye teeth. And as I wrap around, clean this up and actually draw a tight drawing so you can see what I mean. It's dry and my lip. And so let's get my teeth to finding here. Given that little talk right there. And as my teeth rapidly get much more narrow this way, and that they're flat toward us here so they get wider. My bottom teeth will do the same thing. And I'm going to draw in my tongue here. And so my tongue comes from back in the mouth in the center. So it's going to be just about here as a shape. So that'll be my time right there. If I draw a smile, I'm going to draw a big smile. And a character like Joker, something really cartoon doubt and exaggerated. And here's my teeth in the center and he's going to have nice big tall teeth. So the way I like to draw a joker with really accentuated T, so you can have a much wider open mouth even though his jaw clenched and closed. And so I've got my center line here and they need to make sure my teeth are actually lined up there. So let's do that. Here's my center teeth here am I send it to you for the bottom? They're all angling in my upper lip. Lower lip. On this side. It's really I think all we would see on that side. And I'm kinda interconnecting my teeth as they come back just a little bit. And I can actually extend out my smile well beyond the teeth. And then this whole area in here would just be shadowed. And from the front. And I'll just do a quick diagram to show you. Here's my smile from the front. And the teeth actually would just sit in the center there like a cylinder in the center. And so you would actually just get shadowing around the teeth on either side. Like this might be a little bit accentuated, but that's the general idea. You wouldn't have teeth that extend all the way out to here. And because I'm really pushing up in the corners, I get quite a bit of buildup in this area and a pretty large increase here that extends to the extends to the nose, lower lip. And so there's teeth to find that big, broad smile. 8. Male Expressions: So now that we've got all the basic features broken down, I'm gonna take my basic face again and just start to play with some expressions over the overall face and just have some fun with it. And there is basically an infinite range of expressions that someone can have. And so it's really impossible for me in this series of drawings, no matter how many ideal to really get across the total range of expression that a person could have. But what I really recommend you do is look in the mirror, look at your own face. The artist that Walt Disney Animation are incredible at expressions. I'd really recommend you look at movies like tangled or frozen or Big Hero 6 is a recent movie that I think has some incredible faces and their cartoony, but I find I can actually use them pretty effectively for my much more realistic art. And I just adjust the proportions and make sure that I'm drawing a face that proportionally fits for me. But using the expression that they have in those movies, it's something that actually I find really, really works for me and helps me get a bit more of a range of expressions. And I also have to be careful because I'm drawing in a more of a realistic, serious style. I really don't want to get carried away with expressions and really over accentuate them. And so right now I'm drawing in a face that is looking a little surprised and confused. And so the mouth is turned downward. The teeth are clenched. Eyes are vibe. The nose is slightly turned up. So the nostrils are slightly lifted. And I've got my eyebrows at different levels. So I've got this eyebrows up and this eyebrow, this point of it is lifted even higher in a bit of a questioning way because my mouth is extending past where my teeth are on either side just a little bit being pulled outward, you see a bit of shadow just pulled up in their pupils. Worrying about my face so much that I got a little small with my head. And let's just fix that. Make sure that my proportions are just a little bit more, little bit more on point. All right? And what you really wanna do is just draw the same kinds of angles that we were drawing in the drawing superhero heads video. Just getting used to the proportions and placement of features. And once you have that defined in, then really think about the kind of expression that you want your character to have and start to play with it. And so for this one, I'm thinking that I want to have an evil, maniacal, maniacal kind of a smile. And so my eyes are here. I'm going to open my eyes pretty wide. Bring my brow down in Russia, in my nose. It's very difficult for me to resist the urge to start drawing a really wild hooked nose that really kind of bring this sort of face The Life. And we will be doing that in some later videos. But for now I want to make sure to keep my face consistent and just work on expression. And so my teeth are here. And my lower jaw is gonna go down in Word. But I want to make sure my eyes read this angle here. Basically, my mouth needs to stay there and so it was my chin in order to keep things from looking like they're sliding off and there. So I've made the eyes wider. I've also made them tighter. And accentuating my wrinkles around them. My wrinkles down in toward the nose. I can actually wrinkle along the nose like this. My nose is lifted at the nostrils. Got my cheeks coming out here. I should really bring this cheek out just a little bit more. And we can see my teeth in there. And the bottom jaw is hinged from this point here in the hinges down this way as opposed to just dropping straight down and everything lines up as I go down. And that keeps it from sliding off the face this way, which is a very common problem. Look up at a face. And for this one we'll go with straight angry. And so I've got my brow line here, my nose, my mouth is here. I'm going to clench his jaw and open his mouth. And so my eye is will be basically here. My mouth to be clenched like this downward. Make sure my features are all defined in properly. We'll just do that nice and lately. And now that I've got it all sketched in and lighten it off. I want my eye is pretty tight looking very angry, even though my brow is down far over my eye because I'm looking up at it. I still see quite a bit of room up in there. Really can't see this. I here. We can see this. My lip is very tight, but I can still see. The underside of it here are my teeth are going to be here, basically center out here. And all the same rules apply it from when you turn your head around. Because I'm looking up the I see more of the underside here because I'm looking up at the mouth, I see more of this lip even though it's really taught. So you don't see a huge amount. I'm seeing more of of the underside of my mouth here, my lower lip here. And I don't want you to find that too much because it's very tight. And I'm actually going to bring it to a point here and maybe go even a little bit past, just like this. So for this one and the angle I heads as well. So looking down, eyebrow line, my nose, my mouth, forehead. So I've got one I hear when I hear my nose, just felt like that here between the eyes. Once I've got my head working, it might be su proportions and make sure that everything is sitting the way that it needs to. But I can go ahead and give it an expression. And I think for this one, I'm going to raise an eyebrow and give it a bit of a questioning, kind of a so I'm going to raise this eyebrow and then bring this eyebrow up to it. And so the whole thing takes a bit of a shape like this across here, just a little bit more teeth in here. And I felt like I was a little bit lower with my aim, a little bit short with my jaw line. And I'm going to tell you a secret here. For this expression here and for this expression here, I am actually looking at tangled. I'm looking at the male character from tangled. And I'm just seriously adjusting my proportions to make sure that it actually fits my head. And then I'm not drawing something cartoony. But I'm really getting a much more subtle expression then really I'm capable of on my own. I'm not naturally good at expressions. I really like drawing characters that are very angry and I'll do a couple more of those. Those are really my wheelhouse. But when it gets to something a little bit more subtle and a little bit more playful, that's really not what I do. And I recommend that I know for me it's been very, very helpful for me to look at things like tangled. And what I do is I just go through the movie and just take screenshots. And it's a great way to get a wide range of really, really high-quality, very subtle expressions. Something that's beyond me. And I think you can really grow from that and quite a bit, just playing with it. But you need to have a very solid basis for your heads. Because without that, you'll end up with faces that start to look very, very cartoony if that's what you're going for them, that's great. But something to be aware of is the more solid your, your basic structure is, the more you can look at other influences and not have it completely dominate your work. And so much of getting good at drawing really is looking at, at artists and influences that are better at things than you are. There no artists out there that are better at expression then, then the Disney artists. And I'm sure there are some other places. There's, there's other animation houses that are phenomenal tool, but I'm looking at Disney right now, so that's what we're talking about. So I want to make sure I've got my brow here, my nose. And most importantly that I don't lose basic proportions as I try and get across my expression. So my eye placement doesn't change. And my eyes are placed like this. My forehead is just about like that so you can see the top of the head like this. Sheet comes along here and so the mouth follows state mind and so does the bottom of the jaw can clean this up and get something a little bit more finished. Give me a year to find in. And this is a trick I used actually quite a bit while it was trying Batman, my last run, I really wanted to sell my expressions and make them more believable. And I felt like it was a weakness for me. And looking at Disney Animation and seeing what I can get from it while not starting to draw like a Disney animator as great as that would be because they're phenomenal artists. But it's really not. What I was going for was a really interesting experiment. And I think it really helped me grow quite a bit as an artist. I learned a lot from it. Can really see when I'm going into a face without much floor plan, I start sketching in and I think now know and I'm adjusting the angle and I end up with a bit of a mess, but that's alright. Because I can just erase it down as long as they don't press too hard into the page, it's very easy for me to just play with it until I have an overall shape that I like. And I think I've got something here and then I'm pretty good with. So I've got my one I hear my other eye's going to go here. My nose. Just about like this. Here's my mouth and I want this mouth to be open really wide, which means that I'm hinging my jaw this way. Inch downward. My upper teeth will be here. My lower teeth will be down here. We'll see some of the tongue in here. Keep playing with this until I get something that kind of holds together. So here we go. Let's see upper teeth right here, my nose. And obviously we cleaned it up again from here. Just kinda refining in my initial sketch here a little bit more. I'm raising my brow quite a bit and bring it in toward the center. Your placement was just a little bit low, I think. So. I'm just fixing that. At this stage. I want to make sure because I've got my eyes lined up here, my mouth. I wanna make sure that my forehead doesn't drop too far. And it was kinda it's kinda dropping AMI just a little bit low here. And I think it could be pretty fairly argued that I've actually extended down just a little bit. So let me fix that just a little bit to make sure that I'm not actually lengthening my job and make sure that it comes in and just maybe a little bit more. And this mouth I want to point out, is quite a bit bigger than what you could ever achieve on your own face. But I'm not drawing reality. What I want to draw is something that's accentuated and exaggerated. But I want to keep that within the realm of something fairly possible. And that might be just a little bit too far. But I think for me it worked. Draw a face mostly from the front. And he's looking down would be very, very sad. And I'm sure you can see that none of these faces, whatever the expression will work, if your basic structure isn't solid and working. Once you have that working, then it's just a matter of adjusting the few things on the face and really move and give you all the character that you need. And that's really your mouth, your browser, width of your eyes. It's really just a few things that give you so much range. And just like hands, I think the only way to really get a good command of expression is just to practice with the mirror. And with other artists that do well and just do a lot of sketches. And that's just for a real reality. When you start working, you'll learn so much so quickly just from having to do the job. But it's also very easy to lose a lot and end up with large areas that are very weak for you because it's easy to avoid. So you want to take advantage of the fact that you have the ability to just sit and sketch. Now to really shore these kinds of things up and get as good as you possibly can, not them. And an important thing to point out when it comes to expression is I think the angle of the face for this expression really sells it and he's looking downward. And that really accentuates the sadness. A face that's looking up like this has a little bit more drama and shock to it. And a face it's looking down. It just really looks down, cast straight away. And it can really, really, really comes down to body language, which is very, very important aspect of expression. And so this is just bringing them browse, nice and low, very low to the eyes because we're looking down at the face also. And then bringing them together and then upwards in the center, the mouth is a little bit tight and downcast in the corners. And that's really all there is in the eyes are looking down. And it really doesn't take much to sell those kind of an expression. It's actually fairly subtle. We've dropped basically a three-quarter face. And then what this face just to look very concerned. Upset and concerned. Not afraid, not really worried. Upset. So my eyes, nose, or mouth is about here. So I'm going to go fairly flat but the top my eyes and tighten the corners and then tied at the bottoms. Just to tighten the eyes quite a bit. I don't want the eyes to look relaxed. Going to bring my bow low. Then in. And it's similar to anger, but just bringing the brow up toward the center gives it a real concern. And I'm going to lift my nostrils quite a bit. And that's almost a bit of a look of disgust, something you could achieve the same way. And almost a bit of a smear to the mouth, but I don't want to accentuate it too much. Year quickly defined in. And I'm going to go ahead and clean this up just a little bit, get a little more subtlety me features. So I've got my lip fairly tight here. Lower lip connects just under my upper lip. Tight and so bringing up my lower limb. And it's just a real look of concern and worry. And for this one, I'm going to do basically a look of complete boards skepticism. Do that. Let me give the mouth just a little bit of a sneer. And live the eyes heavily in slightly raises the eyebrows. And that'll really be it. Got an I here and I here. Make sure everything is in there. My nose, my mouth. I'm going to want to bring my end. When I brought up just a little bit brown eyebrow up. My teeth right here with my middle is on just one side slightly. And these really kinda hearing a little bit with his mouth just on one side. Give those i's defined just a little bit better. There we go. That expression might be just a little bit beyond me. This is a little further than I ever tens ago in terms of getting cartoonish with my expressions. I'm going to draw a face on the side slightly looking up at it. So I've got my ear here, my brow knows my mouth. And let's go for an angry but about crazy expression. These are always my favorite. Get my I defined in my brow. You can still see a bit underneath it because you're looking at it just a bit. My nose, bringing up my nose just a bit. I'm kinda doing this a little bit more than I think I will in the finished sketch. Let's give myself an idea and you can see I'm actually really coming up off of my initial under drawing a little bit there, which is not ideal, but it happens. And when it does, unless I really have a figure that needs to be a specific size, I just don't worry about it. I've actually extended the lower jaw outward from the upper jaw because I really wanted to be projecting his job Award. And an angry snarl. Sharpen my pencil a little bit and see if I can get it to draw without breaking in. Dry my brow. And I'm really not gonna have much of a ridge inward here because his lip is very taut. And so it's just going to go directly out to my chin, just like this. It might year drawn in. And there we go. Maybe a face just a little bit more like maybe Batman. And it really angry mood. Define the shape of the head just a little bit better. 9. Female Expressions: All right, so before we move on to some caricatures, I'm going to draw a series of women's faces with some different expressions and this will be my standard woman's face. It's important when you're drawing characters for a comic or anything that you're doing, that you have at least somewhat individualized faces for your different characters. You don't want every character to have the same face. But at the same time you really do need a bit of a standard, just as best as a go-to that you can build on. And in the next section I'll show you how to take that standard and start adjusting it to get different types of faces. But for now, this is my standard woman's face and it really is the same as the man's face. I've got my brow here, my eye sockets are here. My nose would be about here, my mouth will be here. My MSc is pushed a little bit far back there. I had it coming out too far out this way. So I just made an adjustment, get my year my nose in and give her a bit of extra mile. And because she's smiling their cheeks going to come out just a little bit more. I think I might have gotten a little large with my eye. This is a result of me. Right now. I am looking at something from Big, Big Hero 6 as my reference for this expression. And so I'm having to take it and then interpret it in my actual comic book style. And I want to be completely honest with you guys about what I think is the best approach to learn this stuff. And that is to learn a good standard head. Learn variations on that head, which we'll cover in just a minute. And then when you learn expressions, you can go from some of the best work out there. You can try different faces, all kinds of different faces with different proportions and get really great expressions from them that really work in your art in any kind of a face that you want to draw. I don't know of a better way to do it. And it's really tempting for me to just say, here's my collection of exactly how I draw faces and learn those all for me. And the fact is that I learned from other artists all the time. And I think it's by far the best way to learn this sort of thing. This is really, this is cartooning and it's something that you may have a natural affinity for it. And if you don't, you need to have a strategy to get better with it. And I think drawing a very large collection of these sorts of sketches from different artists that do it well, It's the best way to go about it. So I just want, really want to be honest about my approach for doing this. And what I think is going to get you to where you wanna go with your faces the quickest and most efficiently. Rather than pretending somehow that I have a skill set that I really just don't have. And so it can be very difficult to use the kind of reference that I'm using and make sure that my face actually stays consistent from panel to panel. And I don't adjust my proportions based on my reference, but that's something the better you get at drawing your basic face. And the more comfortable with it you, you are, the more you'll be able to do this and I am going to show the reference that I'm using for some of these different shots and I'll make sure to credit them and hopefully that's alright. I'm really actually not sure on the legality of that, and so I'll put it in if I need to take it out, I'll take it out. But I really want you guys to see exactly what I'm looking at for this stuff. To give you guys a good strategy or how you can do it yourself and how you can use this sort of reference I'm doing, I'm using to get the kind of results that I'm getting. And I can give her a bit of a wrinkle here, but I really want to be careful not to go too extreme with that because it can start to really age a woman's face very, very quickly. So with my women's faces, I tend to really, really under state my lines. And I think something that can be a real challenge also is to do what I'm doing, but then use your own angle. And I'm actually using an angle that I'm looking at. Again, I'm using my standard form. My brow, nose, mouth, bringing it up for my ear. There's my ear right here. Draw in my eyes. I know it was defined in and start to clean this up just a little bit. And I can't begin to tell you the kind of internal debate of doing this section of my tutorial. Because generally speaking, I really don't look at anything and I'm really working off of my own skill set. But expressions, these sorts of expressions are a real weakness for me. Anything beyond a basic angry expression of basic happy expression to get something that has a lot of character is something that I always rely on on these sorts of references to get working from you well. And so I just finally decided, I think the best course of action for this is to really show you how I do it. Exactly how I do it. Because I want you to be able to do it too. And I feel like I'm doing a disservice if I somehow lights you about my process in, try and mystify it so I can clean that, have skill that really is a difficult thing for me. So there you go. And so now for my next face, I'm gonna go ahead and use an angle that is very different from the reference that I'm using. And I'm gonna see if I can pull off what is a bit of a different expression. It's a very skeptical expression that she has and I'll include that in the reference that I'm using here too. And I'm gonna see if I can pull it off and what I can get from it and if I can make sure that I get my consistent head working on my own angle and get the expression working well, using the reference that I'm using that as a guide without being beholden to the angle that is in the reference. So her lips are a little pressed together and a bit of a smile, just like this. Bottom lip is pushed out just a little bit and pressed together. And her brows are taking this kind of a shape here which WHO fix in just a second, not look in the best way that I haven't defined. Alright, so I'm going to start to clean this up. See we can get this brow over here lifted quite a bit. This is just a little bit more narrow than the other one. It seems like in the reference and I'm looking at my nose drawn in, the nose is very neutral. I can see more of my upper lip then in the reference because I'm looking up at my face and I'm going to lower this just a little bit. I think I came to us a little bit high and alter the expression just a bit. She needs to look a little bit more skeptical than I think she's, she's looking. I definitely took a difficult example for me. This is a very odd expression. And I have so much respect for artists that do this really, really well. And really naturally. It's just not something that comes naturally for me. And I'd love to talk to Greg Apollo, who I think is an artist that does is incredibly well. He's very, very expressive. And I don't know how much of it for him just is really natural and how much. I kinda lost that eye a little bit. I don't want it to look like it's closed and now it's really lost. Let's fix that. And I think that worked out pretty well. And it's a really, really challenging I think, but very rewarding exercise to go through. And it's something that's very useful for you in your own work. When you want an expression that has a particular feel. And you want to just be able to break up that expression without having to copy an angle or really a specific head. So let's do a few more. And so we're gonna go with basically a standard three-quarter view for this one. And I'm, I'm really making the choice of my angle kinda on the fly. And as I'm doing this, I'm really feeling like this is something that I would benefit a great deal from just doing as studies or myself. And I think I'm gonna do this quite a bit more. It's not something that I've really done enough and I think I probably would be much better at expressions if I really took the time to do this more than ideal. And so the eye is very tight. In this picture. She's looking over this way. In this really requires that you have a very, very good understanding of your basic form. And that's why drawing so many examples of faces just in a neutral pose and really learning to be consistent with your heads. So important. And I actually, I did this with a couple of my male heads. Some of the male heads I really drew just myself and some of them I was actually looking at, at some reference, some very cartoony reference for it for them. And I'll make sure to include that reference to along with the actual picture that I'm drawing. Just so you can really get a sense of the way that I'm approaching that. I'm going to try and draw this one from the side. It should be very interesting to see how this turns out. That's my brow, my nose, my mouth is going to be, you just buy here. So I'll extend my draw this a little bit further might year, but you just buy here and just get my construction working. Make sure that I'm good with it. And this is a fairly extreme expression. And I'll be really recreating that with my mouth completely from a different angle. So it's going to be very interesting. So my eye is fairly heavily loaded here. And it's difficult to resist the urge to start picking up too much cartooning. Now, again, I've said this a bunch of times during this, but you really can pick up quite a bit and have it be very effective and it can become part of your style. And I think that's really great. And I wouldn't be against that for my own work either. But that's really not what I'm trying to do here. Pointing with the chin there. My ear drawn in. I think that worked out about as well as I'm going to get it to work. And not bad. I'm actually pretty happy with that one. I think that's worked out pretty well considering we're gonna do one more. And this time I'm just gonna go with the angle from the picture that I'm looking at. Year here, Here's my brow, my nose, my mouth, and chin just a little bit. The jaw, shoulders are raised. And this is how I think Disney cartoons are so incredibly good at drawing expressions on their faces. I think you really need to get, you really need to learn the ability to understand your structure and your forums so well that you can put any expression on that form that you want easily. And it's important to notice, I'm going to show the picture that I'm looking at for this, this movie. This is from Tangled, which was actually 3D animated, but the character sheets are all drawn and these are drawn by artists that have a great command of drawing and drawing a range of expressions on faces that are very, very consistent and a range of different sorts of faces. It's an incredibly impressive skill that have, I think, and we'll really, really bring your comic work the life, or really any kind of work that you're doing. So there's my sketch then. I have to admit it's much easier when I'm using the same angle. And so let's just finish this one off. And as I'm doing this, I really think that it would be possible, and it is possible to get very, very good at this. And turn this from something that is a bit of a weakness into a real strength. If you really do enough of these and get comfortable with them and really make them become part of your own visual library. And that's what I've done with, with everything that I know how to draw well, is I've just drawn them so many times and sketch them so many times and study them so much and have a really good command of them. And I don't have the command of this that I need to. And it really is because it's just hasn't been the kind of focus that it probably really should be. And I feel like this is almost a lesson to myself. And the things that I don't do well in the things that I call weaknesses are weaknesses that I'm allowing to be weaknesses. They don't need to be. It's a choice that I'm making. Alright? And that's gonna be it. From here we're going to move into some caricature. 10. Simple Head Shapes: Here we're gonna go ahead and start to look at how we can take our standard head form. I'm going to draw it quickly, three-quarters. I'm going to make this nice and fast. Eyebrow line, my nose, my chin, my mouth of the interests, But here and adjust my overall simple, basic shape, the types of faces and I'm drawing. My mouth would be just about here. And then we go. And if I want to draw a character that's very different looking, it's very easy for me to just start experimenting with shapes. And so what I'm gonna do is go with the shape that's much more like this. It's a very large at the top, very small at the bottom. I'm going to put my eyes, my brow line here, my nose here, my mouth here, my jaw line, ruby here, Here's a center line for my head. My ear. Be way out here I think because I've got my head larger along that side and maybe I'll make that year is a little bit visible on the other side. And so here's one eye socket, Here's my other one. And it really is pretty amazing. I think I should probably not make his head round at that point. I still want to have some form of anatomy going on with this. And those will be fist right here, my mouth here. And I can get a very different head just by changing that overall shape. And you can see it still looks like a pretty realistic head. And much more childlike, I think. And so now I'm going to try a different shape. I'm just going to go the opposite way. And let's draw sheep. That's more like this. And so I'm going to draw, and I'm not adjusting the height of my features very much. I'm still keeping them pretty neutral, would adjust those things in a minute. So my nose will be here, my mouth will be here, here's my chin. Center line for my head. I think it would be just about here. So my ear will come out here. I'll draw my other ear here. And let's start to finish this up into a bit of a proper skull. You can see how quickly I can get an incredibly different face this way. Leaving all my features alone, keeping them all very neutral, and just adjusting the overall shape of the head. And then we go, this one. We're going to go with a very long shape like that. And obviously no human that you ever see, whatever have a face that's quite so strangely shaped, but it is amazing how much you can get away with in cartooning. Even in a very realistic style, I'm going to have to bring his chin way down here for this one. Light year will be weigh in here, very close. So here's going to be this might take me a little bit further away from any kind of character that was usable for something realistic. But I think I can get pretty far. I'm going to bring the nose down just a little bit more. I think that was a little far up there. Just with the length of the head That's going a little bit too short. Mouth here. And it can be a lot of fun just to see how while then how far away from standard norms you can get and still get a head that has some kind of believability to it. And the great thing is once you've done this, it gets very easy to just repeat this. I'm going to make it just a little bit wider on the top. He's so long on the top of the head. If we bring that down just a little bit and bring it out in the back. I think that's actually something that could be fairly useful. Going all the way to the top, the way I had was far enough out that it would have to be pretty cartoony in order for it to work. As it is. It's still pushing the boundaries quite a bit. And go with the head shape that is very, very square. Let's do that. So I want something kinda like that. Brow, nose, mouth or, you know, with that in just a bit. Halfway down, it's going to be my hear just right about here. And maybe for a head like this, I'd want something that's much more angular for an ear just to keep the design kinda consistent. That's kinda really a whole other concern, I guess, not really what we're talking about here. Seeing basic standard nose. And there's a very, very square, broad head that works. And I could picture that as a character very, very easily. And it's something that's very repeatable as you draw from different angles. And so there you go. 11. Adjusting Feature Proportions: And so now that we've done that, let's start to actually play with the features. And so I'm gonna go back to my very standard. I'm going to go with the same angle. This is my standard head shape that I use all the time. Very neutral. Way. Eyebrow line here, nose, mouth, chin will be just divided here. Center line layer here, it comes right in here. And that's a very standard head for me. And now what we're gonna do is start to adjust the actual features and see what we can get in. So I'm going to go much larger with the nose and bring it out at the top too and give it a real Ridge. My standard I and I'm going to leave everything else exactly neutral. My mouth. I'll leave exactly where it was. So he's going to be very, very short distance between his nose and his mouth. And obviously that's something I can choose to adjust. But for this case, I really want the focus to just be on a much larger, more pronounced nose. And so there we go. There's my basic head. He has a much larger nose and that's a very repeatable character that you could draw as whichever character that you choose in your comic and it would be instantly recognizable. I'm going to draw the same one from the size. My ear, eyebrow line, my nose line obviously went well below it, but that's the part that I altered. And for the sake of getting way ahead to find it. And I'm just drawing in my standard proportions. Hi is here and those will be here. So my mouth, chin. And here's really my standard head from the side. Quickly sketched in. This is an under drawing. And I'm gonna go ahead and draw this nose on this face. And we'll see just how different it can look without adjusting any other features. So let's lighten it down when I'm drawing my eye. And this time I'm going to bring his nose well out, bringing it down quite a bit. It's got a big nose. I'm going to keep his lip where it was. He's got a very short distance there. So that's consistent with what I did here. And the rest of these features are my standard superhero face. And then we go and that's a character that would be instantly recognizable to anybody, has a completely different character than your standard just by adjusting one feature. And obviously there are so many different ways that you can adjust your nose. And I'm not gonna go into a million different variations of a nose before we move on here. But you can really shorten the length that knows, Let's just do that quickly. Just by way of example, I'm going to draw a very, very short nose and I'm sure that you can already visualize the teams. And this is going to make to my face. And so here's my eye, right? Other I am going to go very sketchy with this one does weaken along here. My mouth is here. Very, very simple face. And now I'm going to draw a cartoonishly short nose. And then we go a very, very different look and feel for the character. Looks like a completely different person. And the only thing I've adjusted is the nose and I did it in a pretty extreme way. You can do this much more subtly and get a range of characters and the range of features without having to adjust a great deal. It's really, it's a lot like playing a video game and just moving sliders around. All right, so now I'm going to draw a face. Let's do the same head again. I'm just going to draw it the opposite way. This time, just for the sake of doing something a little bit different. And we are going to adjust the eyes. You're drawn in. And there's my standard head. And I'm really going to play with my brow. And so I'm going to give them a very, very pronounced brow. In an order to do that, I'm going to really need to adjust the overall shape of the forehead, bring it out quite a bit. So he's got a very wide eyebrow and a very pronounced brow. Now I'm going to show you one place where adjusting the eyes really can be very effective. It tends to be something that I reserve for really maniacal, crazy characteristic. And that is just drawing my eyes as more of a circle. So they're always kinda wide and staring. There we go. There's my head. And so I'm going to draw my eyes basically round. And that's a look that really needs to have a brow that, that fits with it. And this really is more of an expression then a character trait. But characters like the Joker, I tend to draw like this all the time. And the one other thing that I can really do that I find effective is to really alter the shape of the brow. Maybe I can bring it up like this. And you get something that looks much more like sub Mariner maybe. And it gives them a much larger area here. And it can really change the look of a character quite a bit and be pretty effective. I'm going to draw a head directly from the front. And I'm going to give him a very different kind of an ear. And I don't find adjusting the ears, the shapes of the eyes to be particularly effective in caricature versus a nose or mouth, which we're going to cover in a minute. But just in the interests of making sure that I've got everything in here, we're going to choose the shape of the ears quite a bit for this character. And so on this side I'm going to draw my standard year, the way that I always would from the front. And here it is. It's pretty simple. It's about proportioned with the brow and the side of the nose just like that. And on the other side, I'm going to just bring it out and draw an ear. There's a little bit more like this. And I don't know that this is an effective thing for really standard faces. If this is the only thing you're changing, you'll just get something that looks a little odd, but it can be a really effective choice, mixed in with some other features. And obviously, I can increase or decrease the size of the ER to get a bit more of an effect. But I do find the effect is fairly mild. Next, we're going to work on our mouth. And the mouth is a place where you really can't get quite a bit of character. And my mouth goes just about here. Now I'm going to leave my mouth where it is. I'm not going to bring it down or bring it up. But I think it's usually a little bit more effective to move the note was if you want the most to be far away from the nose, then you're better off to shorten the nose. Standard for our mouth is right in line with the pupils, just like this. And so what I'm gonna do is bring it well past. And I think as a result, I need to give them just a little bit more. Zhao will cheek, whichever. I don't know. And so there I kept the width of my lips the same for this one. I didn't adjust anything except for the width of the mouth. And so I'm going to give my character a very thin upper lip this time and a very big lower lip. And you can see the effect that has this time. I'm going to make my mouth quite a bit wider with lips that are quite a bit larger. And so I'm not increasing the width of my mouth, I'm just increasing the height of my lips. And that can have a pretty good effect on the parents of your character. We're gonna do one more. And for this one, I wanted to give him essentially no lips at all. And that can really aid the character quite a bit and make them look much more stern and severe. And then draw this head from the side just quickly just to dr. this one home. And this actually can be an expression to it. When you really tighten your lips, you'll get this kind of an expression and it can make you look much more. Stern. Brow, my nose, my mouth would be about here, my chin here. And you can see hopefully, you know, just for these examples right here, I've drawn these lines in this basic construction many times over. So in the course of drawing a comic and a career, you'll do this so much that I've just become absolutely second nature. My year. My mouth is going to be right there. My neck comes out just one here. Let's clean this up just a bit. So I've got my eye right in here. Eyebrow, nose, and chin will be just about here, leaving the mouth just for a minute here. So be my brow line here, my forehead line. And then I want to just take my upper lip, tuck it in. It might lower lip and I didn't like this. And you can see it really alters the whole look of the face. It's something you really can do as an expression with any face. But you can do this for a character and this gives you a bit of a Judge Dredd and kinda look something that I really like. 12. Caricature Studies: So now that we've drawn some different head shapes and some different feature shapes and plead with proportion. We're going to bring it all together and create some free, easily caricatured faces. And so I'm going to start with a shape like this. Basically like a triangle, obviously drawing a face on a complete triangle. You're not going to get something that is going to be usable for any kind of a realistic picture. I guess if you're trying to do Phineas and forbid, you'll be, you'll be good. All right, so for this one, I'm going to draw my brow here, my nose, I'm going to bring way down maybe that's a little too long in my mouth, way down here. And my eyes will be just to put it in here. So I'm going to give them a very long nose. And I think I'll keep it really thin and so drawn and I hear his other eye here. Again, I'm not playing with the eyes too much. I can wrinkle them. So I'll draw some bags under the eyes that can be a really great way to add character to a face. So my goals over the brow. And let's give him a nose and make it very long and downward pointed. And then for his mouth. I'll point that one down. Also. Very, very small chin because I've made them a little older. I'm going to continue that effect and give them some wrinkles along the face here. Make a little jolly just a bit because he's very thin. Here. Maybe for this one, I'll extend it zeros out, give them some big round years. I'll give him some hair. And that's a great way to get that shape without giving them a really crazy odd looking head shape, which can be a little bit too far away for it to work as a cartoon, as well as any kind of a realistic sort of a drawing. Here's my other ear. I'm going to bring that one out nice and far too. You want a little loose just to keep moving. And I want to give them a very thin neck of also because I'm bringing the whole thing down really like this. And that's character I can repeat from multiple different angles very, very easily. And just bear in mind that I have an overall from the side. Let's try and do this from the side. And so this is kinda the shape that we're looking at here. I've got my eye is here, my nose will be here, my mouth here. I'm going to go along with the nose. And channel B here. Center line here might year is going to be just about here. I've got a pretty large year and he needs to actually have had that comes off of it. And so it's going to be something like that. So my eye socket would be about here. Let's try him here. Given as wrinkles around the eye. And he's got a very long downward pointed nose, Something like that. There's mouth comes down like this. And I don't think you would really have much of a chin with this kind of a head shape. And so I've given myself a character that I can draw over and over. And he will look consistent and be readily identifiable as somebody that is very different than maybe your main protagonist. Or you can make this your main protagonist, whichever you choose. But if there he is from the site. And so we're gonna go with this shape this time. And I'm not going all the way to appoint with the top of his head because this is not something I'd be able to use it. I have to cut it off in order to make it useful anyway. So I'm going to draw my brow line about here. He's actually going to have more head below his brown line. Then at the top. Normally I like to put this just about in the center. But because he's got such a large face, I'm going to adjust that, make that even a little larger. And my nose, I think we'll give them a very short nose just like that. My mouth upkeep pretty high up here. I want quite a bit lower face here. So I'm going to draw my eyes and just to kind of establish my skull in here, it gives me a good landmark, the start to get everything kind of worked out in that shape. I know my ears are going to be just about here. Maybe we'll give this one really small little years. Just like that. And I'll give him a project that I went nos I'll make it really short, but very blunt. You know what? I think I'll even bring this all the way out and give them a bit of a broken nose, heavily winded eyes. And I'm making this up as I go along. So it really could be just about anything you wanna do. Just have fun with it. Maybe we'll give them a really heavy brow. And because he's got such a heavy brow, I want to make sure to really accentuate that. And that will give me my mouth. Wide mouth. He's got such a wide lower face I think a wide mouth that really work. And I'm going to make them fairly jolly. So I give him some lines around his mouth here, I think with a very heavy face like that. Generally speaking, you'd have more full cheeks. And generally speaking, the face around the mouth drops quite a bit as you get older, generally be just about here. And then kinda pulls up around the chin. Just like that really. And so it's a good shape to use when you want to add weight to a face. And then I've got my overall weight under the face drawn in underneath that in his ear. See just a hint of it on the other side. Could even have some fun with it and they drape his neck over. And so there's a very, very different kind of a face that I managed to achieve by using very small, very narrow eyes, heavier, more projected brow. I think we should try this one from this side to just to get the real effect of what I'm doing for the brow. And a very small and crooked nose, wide mouth. And a very large lower face, and it has an overall design shape that's very, very obvious. And so from the side, I can really draw the same shape and let's just do that. It's my brow bringing that up just a little bit. It can mess things up just above here. My nose, I want a short nose, so it's going to be here. My mouth to be here. Center is here. Put my ear right here. He's got a small at year and I wanted him to have a very big brow. And so along my my eyeline here I'm going to really recess that I back quite a bit. And so let's try my IN very small, very narrow diagram, a very narrow AI. Given the very heavy, pronounced brow, crooked nose. It's got a very wide mouth. So I'm going well past the line where I would normally stop. And I want to continue with this shape out here. And so I've got his lip here going to bring his chin way out. Give them a Zhao will hear bring out in the pat on the back of his neck here. And I'm pretty small year. And so there he is kinda from the side, I want to make sure that that actually connects up. And I'm missing this whole area here. So let's fix that. And I'm gonna do one more example quickly. And for this one we're going to use are very long sheep pen like this. There's going to be my eyes, nose, and mouth. I chins going to be way down here. Otherwise, it would be very difficult to give that long of a head. My ear here, I'm not going to be able to make it quite so narrow. I think I'm going to have to actually bring it back and give it a little bit of form. And so I've got one eye here. I here. Give him a nice big nose, giving them very small mouth. And I actually kinda like the idea of going with a small mouth for this one. Because I really want to accentuate my vertical lines and I'm not doing that with the nose so much. And maybe I should, but where do you decide to give them this node? So we'll just keep it. But if I make his mouth very narrow and then bring you straight down, it really kinda cells that overall shape. I think. At least that's what I'm thinking. And this is all very again, off the cuff, so I'll give them a very long ear. All right. Generally speaking, I have a tendency to be aging these faces of it that are really different shape. I think that when faces age they, they can really, the features get larger. Your ears get larger. Your face can really sag and it can give you quite a bit more character to the overall shape of your face. And so it gives me a little more leeway to be able to really go with some wild shapes without looking very, very strange. And so I tend, if I'm going to go very, very different with my face shapes to angle a little older. I still want to give them a fairly square jaw. Give them a little bit more ahead. And strictly speaking, this is probably a little more careful picture than I would ever go. That's a little too much. But it can be fun to play with. And just see how much of a visual language give your character and overall visual shape. 13. Studies from Animation: All right, For the next section, what I want to do is take the character from reference, and I'm going to draw this entirely from reference for the first drawing. And this is a very, very cartoony character and I'll leave an image of this. So you can give it a try if you want to try this particular face. So I've got my eyeline here. My nose is just about here. My mouth is here, in my chin, projects pretty far out. This is a very, very cartoony face in far more cartoony than anything I would ever do. But it makes for a really good experiment just to see how much I can get from this. And what I'm gonna do is I'm going to draw the fees from the angle in the picture first and see how well I can break it down. And then what I want to do is a couple of drawings from different angles and try and just make it work on my own and see what I can get from this. And see if I can recreate this face accurately and really get a feel for it. My mouth is about here. Bring my jaw line just down to about here. About here. Slightly. See the other ear here. He's got hair that comes up like this, mustache like this and a half. I'm going to sketch in his hat. And by the way, the top of his head shaped, basically like this and his eyes are here while the hat is just going to conform to that shape, just like this, the brim is gonna come out wider from that like this and then at the top of the hat like that. So pots are fairly easy to draw, especially if they our flat out this way, if you want to give it a little bit of shape, but you, you would draw the center shape like this. Just like that. And then the brim, you can draw a flat, get it working. And once you have it working, you can give it a little shape, bring it up all the sides, maybe down in the front a little bit and give it a little. So what I'm doing is giving it a shape like that and that's pretty loose, but really not the focus of what we're doing here. So let me get his hat sketched in. And now that we basically have something, let's go ahead and draw this. And while this isn't from really far away from anything that I would actually draw. It's amazing just how much you can add your own artwork by trying something like this. It's so far outside of what you would do and you can take elements from it. And I'm going to be simplifying some of the shapes just a bit, just for the sake of speed. Because other eye is going to come up just like this. He's got a very interesting nose shape. Really comes straight down and maybe even inward for a bit and then projects out like that. And I'm not worrying about getting a final drawing that's really attractive. What I wanna do is try and get something which describes the shapes for me best. Because this is an exercise. And I want to internalize these shapes. So I can hopefully draw this myself in his teeth. Basically go like this. Its job projects way out. Drawn to the ER because other ears just about here. Hairline get his hat drawn in at the top here. And so that's basically what we're working with right here. That's going to be because next coming out of the bag just like that. And so that's basically the face that we're working with. And now what I'm going to try and do is take this really, really crazily proportionate face and see if I can turn it in space, in drive from different angles without looking at anything else and see how much I can get from it. And I think it's a really great exercise. So I'm going to try and draw this face from the side. And I'm seeing a sheep. And what I'm gonna do is break down the shape into a really simple form. It's basically like whew this. At least that's what I'm seeing. It'd be very interesting actually to find this face, find another angle the face, and see just how close I can get. Just based on trying to break it down myself. Nose comes straight down. My nose lines is going to be brought here. My mouth is going to be about here. Chin projects down from there. My ear would be about here. Bringing them knows. It's got a really pronounced shape for how it's going to be just about here. Got decently defined cheekbones, mouth. He's not really smiling so much. She's really cutting, grimacing to use bottom teeth coming out here from here. Sketch it as a year and obviously I'll clean this up in just a minute. Try and get something that is hair comes out like this. The top of his head would be here. And so it's hot. It's just going to be about like this really crazy proportions for this face. And so let's clean this up and see what we get from it. Tried to more angles after this one. When you're drawing your own work, you really don't want to be limited to the reference that you can find. You want to be able to infer and interpret your reference. And this is really the way I am assuming that if you're a Disney animator, you would need to be able to break down these kinds of characters. And I don't think this was Disney. I'm pretty sure this would be a dream works would be don't quote me on that. And my lip projects just about like this. Draw in the line for my hat. And that's about what we're going to get, something like that. Let's actually just do one more angle. And then what I wanna do is see if I can take this face and interpreted and more of my own style and take some influence from it. But not draw something that is quite so extreme. Eyeline, nose, my mouth wraps to my ear. This would be, and I think it can be maybe helpful to draw a proper head just to get the angle working. Something I'm a little more familiar with and see if I can interpret that shape on top of it. And so my eyes are going to be just about this. They're very large eyes. I might even be a little small. Let's make these just a little larger when those come straight down and then projects well out from there. From here you'd be able to see and be on the side of the nose so you can see a bit of a nostril there. My other eye, it's going to be just about here. My brow of z you just a little bit more underneath that brough and mouth. It's going to be just about like that. And obviously I'm going to come pretty far down from here and half to bring that shin out. This will be my teeth here. But understanding my basic forms and being able to turn them in space like this means that I can take any kind of a face, make it my own very quickly, and dropped from multiple angles and start to get comfortable with it. Very fast. Line for my hat of being just about like this. You'll see the hat around his head just about like this. Draw the top of the hat. Like for my hair, which is going to project out backwards like this. And I haven't actually drawn it was mustache, I guess I should, but we'll just leave that alone. And there's another example. I'm going to leave this one loose and so we can move on from a different angle. And I think that works pretty well. So I'm gonna go ahead and try and draw this face in my style using cues from this character. And so now I'm gonna go ahead and draw just a basic three-quarter. My mouth here, my ears gonna come around to here, here's my forehead. When drawing my basic head shape just as a starting point. And then what I'm gonna do is, I know that I want his chin to be larger. I'm not gonna go quite so crazy is the original, so we'll just bring it out to about here. I'm going to bring my browser here. Him to have his wide crazed eyes, but I MBB keep them more in line with proportion that a little more realistic builders predicts down like this. His nose, I can actually really get away with cartooning quite a bit. And so I'm going to actually leave it very, very similar to what was in the original reference. I can get away with that. I think pretty effectively because John is going to be about like this or his cheeks, sorry. Get his brow. They're basically takes about that angle right there, just like that. Just getting our sketch in. Giving them a very large mouth. Make a student just a little bit larger, but they get to work. The line for his hat will just be about here. That's about where we want to cut it. If it were her like a cross section, you would cut that plane just like that. So I'm going to place his brim here, drawing his ear. And now from here, let's go ahead and clean this up just a little bit, come up with our final character. And because I've already drawn that character in the extreme kind of cartooning that he's, he's drawn in the original. I've really gotten a feel for it. I've got eyes that are similarly working for me just in proper proportion or in more realistic proportions. A proper proper proportion is whatever you choose it to be as long as you're consistent. My nose. And I personally find this to be a lot of fun to do. It's a great experiment. It's very relaxing and you can get so much from it. And it really gives you such a broad range of faces in styles very, very quickly. And I think it's a great way to grow. And so here, when it's hat is brim, little bit of a piece right here. I'm going to go ahead and lift the sides just a little bit. Drawing this header. And there's my character drawn really much more in my style. And what I've done is taken design cues from the original and then just transfer them into something that's much more realistic and something a little bit more usable. So he's got a job that projects out. I could even probably go a little bit further and still keep it within a more realistic style. But that's a choice you can kind of make. You can do a bit of a push and pull and see just how much you can get away with it, make it work for the art that you're doing. And I think that that works for me. And I really recommend that you try a lot of different animated characters, things that are really, really far out there and just really interesting designs and then draw them from different angles yourself. See how well you can do it and how accurate you can be, and then try and do it on your own. I think it's a great, great experiment and will really, really help you develop your own caricatures and range of facial types. 14. Finished Head Example Part 1: All right, We're gonna go ahead and stop sketching and we're going to draw a couple of finished heads and really have some fun with this. There are things that I can get across with a quick sketch, and then there are things that are very, very difficult to get across in that format. Like the kind of wrinkles around the eyes that you have coming up around through here. And the way to make those wrinkles really work in really interconnect well, the wrinkles over the nose. And then all around the mouth, I want to have my mouth open very wide. Troll my upper teeth in here. Get this all sketched in a given them some pretty good IT. And I really should be finishing out my head structure properly. I have a tendency to do this. Instead of drawing my proper structure the way that I should, I just start drawing my features in and build it out from there. And that works, but I can actually get a little lost it and get some things that get a little wonky if I do that is really just laziness on my part. So really should go through and use proper structure. The way that we've been doing all the way through this. It can be very difficult for me to make the transition mentally from gesture drawing to actually drawing in trying to explain what I'm doing. And it really is a bit of a process and I'm finding, I'm learning a lot just from doing this and trying to find ways to explain it. Instead of just automatically working the way that I've learned how to work over the years in a bit of an automatic process. Something that I don't really give the kinda thoughts you that I really could be. So there's my basic structure. Let's lighten this down in drawing our basic cartoon. If it's light enough that I can see what I'm doing, but it won't interfere. And I always tend to start with the closest I just habit, I guess, whatever feature or part of the face you're more comfortable with starting. I think it's all fine. When I drew the caricature that I just drew in the last section, he had a bit of a tight ship to as I was Hard along the top, downwards just like this, and very flat along the bottom. And it really made it look very tight and be latencies down. I'm getting a little bit heavy with my lines, especially what I want to be more of a cartoon and flat line drawing to start. But I really liked that construction for the eye with that tight line underneath. And I kinda want to emulate that in this picture and see what I can get from it. And this is where studies and doing lots and lots of studies can really make a massive difference for your artwork. Because it'll give you things to think about when you're drawing your own pictures. And really make you question your whole process and just give you ideas for different little tricks and things to try. My nose. Because I'm just doing a line drawing and this makes it very easy for me to change it and adjusted if there are things that I don't like before I go ahead and make sure things up with shadow in line weights that are still erasable, but they just make things a little bit more difficult and tedious to fix. And I'm going to bring this side of the mouth down with just a little bit here. Instead of having the point from my mouth way up here, I want to bring it down here. And you'll find, if you shape your mouth, open it, and shape it in different ways, the points that you bring up your corner, bring down your corner, are very adjustable and they can create a wide range of different expressions. From all the way, from very happy. I guess I shouldn't say happy from a smile. I guess in this case it would be very angry, evil smile all the way down to really a lookup range. And that's really wonderful what we're going for here and make sure that my mouth is lined up. Well, I've got nice p3 here. I'm plotting GI think I'm going to draw in here, so that will be my eye teeth just about here. Line up the two centered teeth, just like this. Molars. And I can define it in just like this. Very tight, narrow ellipse. And I brought this out on the side just a little bit because when you open your jaw, it actually brings out this muscle in the back of your cheek a little bit. Now that we have that defined, let me clean that up just a little bit. Depending on my comfort level, my clear line drawing kinda go back and forth between a clean drawing in something quite a bit messier as I add more things in, erase them and work out my visual problems. And that was 10. Allow for that to happen. That's a little bit to pronounce for me. Fix that just a bit, give them some wrinkles. Just above here. And so I've got my brow, which projects out like that. And so my wrinkles round around that brough and then above it I've got my actual forehead wrinkles, which come in just over. And they actually can start to connect him with wrinkles around the eyes. I'm going to start connecting some wrinkles over the nose. Scrunching is nodes pretty heavily. And I'm really doing this kind of a pattern in a very simple form, just like clothing folds. And obviously I want to get a little more character, so I'll draw one here, another one, and I'll just give you a bit of a sheep. This one I can park up underneath. Go a little bigger, a little smaller, and try and break it up a little bit so it's not overly mechanical looking like that. My year to find in these very tense. So I'm going to project some. I honestly really don't know if these are tendons, veins are what they are, but generally speaking, from under the chin across the muscles of the neck, you get some some extensions. I like this. Give him a fairly flat aggressive had cheap. I think I might have gotten just a little bit large with it. So let's bring that in just a little bit. Just like this. And there is my basic cartoon cheap for this head. Everything's basically define them well enough to give me a framework to go on with all my lighting in my extra detail. Is that for this one, I'm going to let this face from here, which is my standard kinda go to living. I don't use it all the time obviously, and it can be very context specific. But it's coming into the shot at about a 45 degree angle or so, letting you that the face this way, It's all have a shadow cast from the nose is over here and underneath it, underneath the eyes. But I also want the light from the other side directly across, like this. And this one, I'm not going to angled downwards. I'm not going to angle it up. It's basically going directly across and it's going to act like a sidelight. And what I'm gonna do in order to make this easier, I think I'm gonna go ahead and just shadow this whole face all the way through. And then I'll erase out the shadow on this side. And that's not really normally the way that I work normally, I would draw it all at once. But it's something that really helped me when I was getting comfortable with this kind of shadowing. So I'm going to start by drawing in the eyebrows. Is the eyebrows are something that I know is going to be dark No matter where my light is coming from. So IVI always feel like it's a good place to start. Shadow heavily over the eye here. And let's do the same for this one. On the shadowing for my brow. Shadow his nostril. A lot of times when I'm drawing and I'm really not sure about the lighting. And for this one, I'm pretty confident. But a lot of times if I'm really not sure, it can be really helpful for me to just work from what I absolutely know and then allow that to own form in form of the things that I'm a little less sure of. So his nostrils absolutely going to be dark in some shadow when you met in dark. Just make sense. Also the inside of his ear, I'm going to shadow in under here. Inside here. I'll cast a bit of a shadow underneath because of resting underneath this portion here. Let's give it all dark in here. To find that out fairly cleanly. Put a bit of a hook for here, here, underneath the ear lobe. Here. It's casting a shadow along the neck. That shape just a little bit more refined. Make sure that this portion here overlaps in here. And now. And well actually, you know, before we move on, let me go and shadow head, shadow inside the mouth than other area that I am absolutely sure it will be dark and it makes it very easy. I don't want to darken it completely, but I do know that it will be dark. For me. It's defined just a little bit better. When you're drawing. Don't be afraid to make these kinds of adjustments where things are really not looking exactly how you want them to look. If you want something different from it, don't ever treat your initial drawing as an unchangeable thing. You can always make little fixes, little adjustments until you are much happier with it. And so I want to be pretty dark up here underneath because of the lights completely obscured. And strictly speaking, the mouth might be completely dark, but I don't wanna do that. So I'm going to cast a shadow over the tongue. Shadow all the way up in through here. Try and keep it fairly clean. Shadow in here, a 108 teeth. Keep working my teeth here just a little bit more. And I need the shadow underneath my tongue. It would also be casting a shadow just like this, right up against the teeth even I think we'll be fine. So let's give that. And I really think that the back teeth would be pretty shattered out. We don't need to see all the way back into the mouth like that and back here too. So I can just go ahead and fix that up now and made an eye tooth out of the wrong tooth. Let's fix that. There's my idea. There we go. So I've got a shadow inside the mouth. And so now I'm going to shadow underneath the nose. My light's coming from this direction universally. So we'll take this angle all the way across the whole picture. And so I'm going to shadow from my nose, from that light source. And this is a cast shadow. Across the upper lip. And I left a little bit of light just in here. Just to keep some definition to that knows I don't want to completely shadow it out. And I can. But I really like to keep things. I like to open things up even if it's not entirely realistic. Just the mean team, a little bit of definition, I want to see where that nostril is. It really have it working rather than just completely shattered? And strictly speaking, with this kind of lighting, I actually could completely shadow this eye out. And that's also something I'm not going to do. I'll shadowed heavily, but I still want to see the eyes. And so it's always a bit of a push and a pull. Tim Bradstreet is an incredible comic artist. He did that. Punisher covers for years. Beautiful, beautiful covers very heavily photo referenced. And he always went with a really heavy lighting from above or generally from above. And so his eyes were always completely shattered out. And I thought it was a very effective thing. I really liked it. I've experimented with it here in there. Generally speaking, for me though, I prefer to be able to see my pupils if I can help it. And so my nose overall is going to cast a shadow this way. Go ahead and do that. This is going to result in quite a bit of erasing for me. Not so much in heat. Well, we'll see a shadow underneath this I here That's going to be well away from the light. And so we'll just go nice and dark through all of this. And I can extend that down further and I think I'll need to, but a lot of times I like to build up on my shadow so I don't end up with something that projects too far out too soon and then have to erase back in. I'm also going to shadow here. This plane change was away from the light. And I think I will just bring this further down. Just do that now I know it. I'm going to need to link. It looks much better, filled in that way properly. And he's got some pretty good wrinkles around the mouth here. And I could even just go completely dark and think that rate in there. So let's do that. And that's really a choice. You can leave that open where you can sync it in whichever you feel like works better for you, whatever drawing you're doing. But in this case, I think I want to go pretty severe with that shape. I could even go heavier. And by going heavier, all I'm doing is creating a larger shape here. I think I'll just go dark with my gums. Graphically. I think it will just work a little bit better. And so now I'm going to shadow under my lip. Make sure you can see what I'm doing. It's casting a shadow over the chin. In this whole area really, I think would be dark with that lighting. So there it is. You'd be fairly dark in here. This is where this is rounding. And then I'll start to define some of these shapes that I put under here for wrinkles. Interconnecting these, this will be dark. Pretty quickly. I can really start to get an overall lighting on the whole face without ever feeling really daunted by any single area. What are shadow even this area here that open wrinkle his eyelid, his bottom eyelid. That's all I need to do to do that. So here's my eyelid. Here's my shadow across the part that's away from the light. If I draw a line for a wrinkle here and then another line here, I can interconnect them and then draw through it like that. It creates a really nice kind of a shape effect. So that's kinda what I'm doing here. Just kinda craving some negative space and wrinkles. It can be very helpful to just look at your own face or wrinkle up your face and look at how these wrinkles kind of form on your nose. And you can get something that really works well for you. I'm going to pull up some lighting or some shadow is just in here and started to find these wrinkles. Interconnecting my shapes. I don't want them to be more shadowed here and then lighter as they go out toward the light up at around here. Try not to overdo fine any one area there until I kinda have the overall thing establish and then kinda norm going. Just so I don't get too lost with it. 15. Finished Head Example Part 2: Let's start to define his brows coming together. In your browser is another place where it can be very useful to look at your own face. And artists I really recommend for this kind of detail is Glenn February. I highly suggest you see got some of his work and see what you can pick up from it. He does wrinkles better than anyone I've ever seen. Certainly as well as anyone ever seen. Shadow along the side of his head just over here. Finding some of my forehead wrinkles. Give us cheek defined in turning away from the lake here. There's a bit of a ridge that runs up along through here before it rounds out its jaw muscle, connect it right over here. And I really want to pull that mouth by giving it some very long stretched out wrinkles all the way up around it. They call shadow further along that lip, rounds up toward the light. And so push and pull up just until I get something that I feel like has a good balance of lighting to it. If I go and it's always a choice, I can go much heavier in darker all the way across and then everything needs to reflect that often go much later and everybody needs to reflect that. And so as long as you're consistent, feel very heavily shadowed, then you wanna make sure to be him very heavily shot on the whole way. I'm going to shadow under his chin. My lighting is again coming this way. And so I can pretty safely shadow all along here. Shadow his shoulder. I've got his left shoulder just here. Let's get that drawing in. This like this shot of the whole thing out. And I can take the side of my pencil, speed things up for myself just a little bit. This way. I also could just leave these open and put x's in there. And that would let the inker or yourself later know that you want that area to be dark. I don't personally like doing that just because I really want to see what the final picture is going to look like. And I find it very distracting. Looking at a bunch of axes instead of shadows. There are artists that do it beautifully and get incredible shadows out of it. They just don't seem to get lost. And I think that's crazy. That is not me. I get lost using pretty hard graphic shapes. And I'm making sure to outline my shapes and center just scribbling shapes in. So I've got a hard graphic shapes like this drawn in here. We'll add up in here. And I can see right away, do I like that shape? I think it's going to work well enough. And so I can fill it in. And I can always adjust it. Even if I worked with ink, which I do, and I'll define these kinds of shapes in with a brush really heavily. I always have the option of going back in with some weight out and just making some adjustments if I'm really unhappy with it. Generally speaking, I really do try when I'm using a brushing, going directly to ink to be pretty comfortable with where I'm gonna put my shadows. If I'm not comfortable, I'll define it with a pencil first just to be sure to go bring my shadow in. Just a little bit more up here, giving us a little bit more and character. And that's my basic shadow pattern for this head. Pretty simple. I really wanted to find some nice angular shadows under the cheek, right here around the mouth. And it really pulls that mouth Open. It's now, if I want to bring my little late in one side, Let's shadow this itable and now I'm going to have to cheat my letting a little bit further in. Otherwise I'll end up blowing it out. So something I probably should have considered just a little bit more. As matter of fact, I'll just go dark care. And that gives me a little bit more opportunity. So open that up in an interesting way. Pull up a little bit more shadow in here to compensate for how dark I went over here. Make sure that it's relatively consistent. Maybe even just a little bit more shadow here. And I'm gonna take my big blank, blank. I think my big blunt eraser. And I'm just going to carve in some shadows, some lights. So I know I want it light along here. Maybe along the side of that file is just a little bit along my cheek on this side, at the outside here, along my lower lid here, in through here, over here. And I can pretty quickly erase out basically where I want my light. I could do the same thing on my arm here. And you can see why this is nowhere near as an efficient method is just getting both lights in at the same time. But if you have trouble really visualizing both at the same time and it's easier to just put in one light, then this is a good way to go about it, especially if you have a nicer eraser, that this big blue thing here. This is using a hatchet for surgical operation probably, but it'll work. All right. And so I've got a light coming here. I can light to it. And at this point I can completely ignore this light because this is on the other side of my core shadow. And it's very important to remember. And you can see why I wanted to go dark here. Really wanted to find this sheet shape. This way. I like it more. It gets a little more effective. Shadow in here around the mouth. Keep that pretty dark and then cut into it. I think that might be a little tall. Their core shadow, I think I'm going to run just right about here. Jim, close that back up. And by going all the way out to the edge here, I'm kinda fighting if I have a universal light all the way across and I can do that, and that just kinda isolates that light down d. And I could even end it here too and just have a little kick light right here that just gets this area. But in the interest of making sure that we're consistent with an overall light source, which is just a little bit more simple. Let's bring it up to hear something a little bit more like that. And that's gonna give me my lighting structure across the face. And so from here I can go ahead and put in my final rendering detail. And I'm going to start around my lip. No real reason why I just made that choice. And start just about anywhere. It really doesn't matter. These are very, very short lines because this is very short transition here. And then really not even probably necessary. But I'm going to run this tension line up very softly over the lip. I don't want that to be a hard line. I want that to look like the skin is just kinda pulling right there across the plane change of the nodes at the bottom here. Much longer along here because it runs along a longer form and here it's a harder transition. Give them a little shadow right here on his nostrils and light from that are in the render from that. Just a bit. I'm going to start to render across the nose here. And strictly speaking, it's occurring to me, I really should have a core shadow along the nose. Break that up. So let's do that. Because of the nose would be also hit by the sidelight obviously. And I really didn't define that. So there's my core shadow. The shadow. And that breaks up the shadow along the nose and you really wouldn't see much of it from this angle. But it's enough to actually define my nose out that way. And I can even give myself a little bit of light catching rate here from the other side. Just open that up a little bit. Harder. Too much softer transition along the cheek here. Here again. Software and then start to follow the form all the way up with my linework. Keep it nice and clean and consistent looking. And I can do a bit of cross hatching coming up this way. Maybe a little here too. Rendering, it grew and blunted or along the shape here, there's a bit of a harder or sheep not too hard. I don't want it to be a hard transition, but I don't want to blow it out by going all the way across. And I can push this whole area back. I'm going to do that just with some crosshatching here and that just darken that area just a little bit more and pushes the whole area of his lip inward. In the shadows it a little bit more without getting overly shadowed. And I can also use these lines to define the shape of my lip there. And I'm jumping around a bit here, but this is the way that I tend to work. I want the whole thing to work together. And so I don't just render fully one area at a time. And I know this whole area here is going to be fairly dark, but I don't want it all the way dark. It's a very soft transition up the light through here to give that to find in these lines can naturally cross hatch up under these ones here. Flow pattern all the way up through. And I'm sure you can see why it's much, much quicker. It's pencil than it is dependable and ink at the same time or it's an ink even because I can be a little looser and these lines are really not perfect. Whereas an inker oftentimes would end up using a French curve or something to make these lines really, really perfect. I'm going to soften this just a bit by rendering it. And then I'm just going to soften out of it this way. Now I'm going to make this quite a bit softer through here. Really push it in and down. Just like that. And I can do the same thing here. I can make this darker. Just like coming crossways across it like this and kinda define this ridge. His lip. I'm going to render but add some bounces shaped my line. So it looks like little wrinkles on the lip. I want to get too crazy with that. It's pretty easy to sell some, some character to that just by adding just a little bit of variation to the line. And this is a fairly soft transition. I'm going hard because I'm actually going to wrinkle it with some rendering, which I'll show you just as soon as I get this in. And so I can just create another line of rendering above it. And it creates a bit of a reddish, something I do all the time. And it just works. It gives it just a little bit extra detail. Make sure these really interconnected properly. Kinda lost my Internet connection there. Just a little adjustment. And I went fairly long and software these, I want this to be a fairly flat shape. I really don't want to round this out like some kind of a crazy shape on top of his head. There just wrinkles. And longer lines like that tend to flatten a sheep from its shadow to its light. I'm trying to make a bit of an effort to not cover what I'm drawing as I draw, it can be a little difficult. I look up at the screen, I see my hand is directly over what I'm trying to show. And as I go I can clean this up just a little bit more. I might be better off to make sure this is completely clean before I go into my line work. But generally speaking, this is about a tight I'll go with pencils and I just kinda clean as I go depending on how much time I have also. And this is where you start to rely on an anchor. If I don't have enough time to really cleanly defined every little sheep the way that I would want. I'm thinking I need to rely on the inker that I'm working with to be able to interpret that in a cleaner way. You've got a line weight here and here just to accentuate that connection that overlap, just a bit of a line over here. Some wrinkles around the ear. His whole face is very tense. And this is where now becomes just a bit of a push and pull based on what I've got in the picture and what I'm seeing. I'm going to soften his tongue. And you can go pretty texture with the tongue to because the tongue has quite a bit of texture. And so just keeping it a little bit of a broken kind of a bumpy line. Graduation up like that. You can be pretty effective. And here we go. Quickly define it in his neck. 16. Last Finished Head Example Part 1: And so this head is going to be looking up a little bit this way or seeing it turn just slightly this way. And I want the mouth to be opened on this one again. Really, we're opening the mouth on the US just because there are things that happen to a face when the mouth is open and that's really what kinda what the salt out. So so normally my jaw would be here's my nose, my eyebrow, here's my forehead. Just appear in my mouth would be just about here and my jaw would end up here. But because I'm and there's my ear to find in here my other year just across from it really. And because I want my job to be open, this hinders stays in the same place. You need to find this shape here. And then I just lower the chin. So I've got an I here and I hear my nose, my mouth here. And let's lighten this down and start to sketch interface over this. And so nice wide eyes and making these very, very large. I'm looking up at the nose, but I want a downturn. Very large nose, very pronounced, highly peak browser. I'm gonna go pretty flat with the undersides of the eye is because he's got a big grim and I'm sure you can kind of see where I'm going with this picture. But in the interests of copyright. This is anonymous smiling character. And so here's my upper teeth here. Amedeo, fairly long teeth. My lower teeth, him is just slightly here. Really re-map mouth down. And I've got It's cheek here wrapped around his mouth. And then decide to define the area from eyebrow to give his hair sketched in just as a sheep quickly. Neck. Tongue is just above here. His mouth. His wrinkles around his eyes come through like this of both sides. And so now that we have that drawn in, go ahead and start to type that up. And I've got his nostrils pulled quite a bit. I think for this one it might be kind of fun to browse and really come up just a little bit longer. And the eyes and a little bit more like that. Define the lines between the eyes and wrinkles around the eyes. Just like this. Teeth make us t is just a little bit crooked. Moves kind of working around the mouth. Cutting my teeth defined in quickly. Get to my ear. I will say I can be much more methodical than this, what I'm actually drawing. Sometimes it'll go very quickly like this and sometimes it'll be more methodical, depending. These are, I'm drawing fairly quickly, but the process is exactly the same. And I draw like this, unprofessional things all the time. So it really depends. I think the biggest define a deciding factor for how long it takes me to define this kinda thing is my comfort level with the actual material. And I'm sure you can imagine that I draw a lot of faces. So I'm fairly comfortable and we'll say really do something very, very different than what I'm familiar with. Let's make sure we're in the shot here. I'm going to go fairly simple with this hair. Trying to think of it in terms of an overall blocked in the shape rather than individual hairs. Give them some wrinkles over his nose here. And that's going to be basically my block him, get his neck in quickly. And for this one we're gonna do something a little different. I'm going to light this one. From here it downwards and we're gonna go with a single light source for this. But this is going to be an underlayer, which is a little more complex. And it tends to, for me, certainly presents a few different challenges. And I thought to be a good example of the kind of fees that actually really benefits from this kind of lighting. And we can kinda work through some of the challenges that you can have when you're trying to define large and small forms from a light source that you're a little less comfortable with. And while the same rules all apply and there's really no difference, you will develop a shorthand for your lighting based on lighting schemes that you're more comfortable with. You'll be more comfortable lighting anatomical details from one direction over another. And so it's important to play with these kinds of light sources and see if you can find that comfort level. All right, once again, it's an optional, it's going to be shadowed in here too. I know I've got a large rounded form here. So I'm just going to quickly define a shadow here. And along the top of his nostril, that'll give me this kind of a shape just like this. And then the nose itself will shadow all the way up through here. So let's just make that dark. And now because I'm letting from below, I'm gonna go thicker. Here. We're shadows over the island eyeball itself. The top my cheek is turning away from the light here. And so shadow that. And this is just going to be a matter of starting to connect my shadows and making sure that I'm not putting shadows in where my light is. Got a folder here. This is all going to be fairly dark because my light's coming from here. And so this is turning away from it. So I know I can go pretty dark here and just block that in quickly. I also know that I can go pretty dark all up through here. So let's just do that. Be very helpful to just start blocking in large areas of shadow where, you know, they're going to be just so you can get them out of the way. And now I've made a bit of a mess with this brown. Let's fix that up just a bit. And I wanted to just work quickly with my overall silhouette shape for the brow because I'm going to light it or shadow it from below. So it really casts a shadow upward like that. And I'm gonna do the same thing for this one. Things up a bit. Shadowed Lee, I just I don't shatter my eyeballs, but I want to sync it in there, especially away from the light here is LID would be lit here. And I want to shuttle where it turns away from the light just above here. Just like that. And I'll do the same thing on the other side. In this really, I'm sure you can probably see already becomes a much more methodical approach for me as I really have to go through and think about each individual shape really in the way that I'm sure that you have to when you're drawing your faces. And so it's really taking away my natural advantage of being very, very comfortable with the lighting and where pulls up now. Now and shadow inside his mouth here. Certainly this area would be dark and obscured from the light above his lip here. His chin here. And I'm just going through and looking at each individual shape and where it's sitting in space and thinking about where my shadow would be. I've got this little area above his lip here and then on the other side here, I know that would be shadowed, which is like that. I know this whole area around his mouth is turning up and away from the light. So I'm going to start to shadow in here. I don't want to get overly carried away. So I don't want to go all the way dark with it. And I might, but I'm going to leave myself that option. So there it is. Just like that. Give them some wrinkles. Coming from his eye here. Very important to point out. And this can lead to a lot of trouble, or at least it's certainly can't. Now, I'm used to when I'm doing wrinkling and shadowing under wrinkling is I've got a flat line here and then it gets wider underneath, like this is kind of a shape. And so if I interconnected view and this whole thing ends up looking like it's lit from above. But for this, I want it to go the other way. And so I'm drawing it more flat at the bottom and then putting all my shape along the top. And that will make the whole thing look like it's being lit from below. And so you really want to be aware of that and don't fight your lighting with your smaller shapes. And so let's continue that as we go through. It's well as I can in this can be for me because I've gotten so much more comfortable drawing shapes like this little folds, those kinds of things from one direction. Sometimes it can be helpful for me to actually just turn my picture upside down and I'll do that at times if I really start to feel like I'm getting lost and I'm feeling all right right now I wasn't sure how this would go. It wasn't sure if I really need to do that. Had order of this would just kinda work for me. And I just played by ear and I really wish I could say why it is. Sometimes I can feel comfortable and other times I just can't but I'm sure you know what it's like to sometimes you sit down or do something that you're pretty good at and you feel like you know what you're doing and it just feels like you are a lost sometimes what happens? So certainly happens to me. So the same thing here, the shadow bump that sheep. And I've shadowed above that shape here to try and make sure to keep it. And I got lost it just a little bit there. Let's fix that. I had this shape which I liked, but I got to narrow here. See if I can make that look a little better. Somewhat. Let's fix it again. Shortly shape there. That works better for me. Now, this whole side here recesses and I'm going to call it away from the light. And so I'm going to shadow quite a bit here. Add some good line weights of these teeth here as they come away from the light. Just give this a pool. I want this to be shadowed. This also. And I'm just creating some large wrinkle shapes. These are probably not even a 100 percent, 70 percent or whatever percent? Correct. But as long as they kinda work, you know, and I decided I don't want to put more shadow here and really turn that shape back and we'll see if it doesn't work, I'll erase it back out. And I think I like that, so I'm going to leave that alone just like that. 17. Last Finished Head Example Part 2: And I've come underneath this one that you can see, I've shattered along the underside, but my light's coming from here. And so this whole area on that side of the face is going to be dark, including my neck. And let's just shadow that in right now. In here. Just drop in some large shapes along where I know the light isn't just like that. I've got kind of a ball-shaped here for his Adam's apple, and I can just get top of it here and maybe a bit of a smaller shape here, just like that. Finally on the side. And just with a few shapes, I can get something that works relatively well and I don't need to get too carried away because we're working on the head. And so now his ear, I'm thinking that I'm just going to make this year dark because I've got it turned way back away from the light, which is my diagram of my life, really isn't all that accurate, really should be defined in it as a three-dimensional shape. So you really see where my light is coming in here, just like that. And so I'm just going to shuttle the shape in. And I think I'll just do the same thing here. Keep my shapes a little bit more graphic. And let me just erase this line out here. I want to make sure that I'm not defining things into the light. And as I say that I think this is going to turn up away from light just a little so I can leave that in just like that. The ridge of the upper lip here. At now this cheek is also turning away from the light. So let's make that nice and dark up through here. And I've gotten wider here than I did here because the overall shape gets wider and broader and this is a quicker transition here. So in the same way that I would go much more short with my rendering, I'm also go and then go longer where the shape softens and broadens and do the same thing with my lighting. And it makes lighting actually relatively easy to think about. What do you think about it in those terms? Or at least that aspect of it? Trying to shadow along the top of my wrinkles here. And this side of the face is going to be much more open because it's toward the light much more. So I'm really trying to bear that in mind and not go too far down. Clean things up just a bit. And I'm going to shadow along the top of the ear up in through here. This would turn away from the light. Inside here I think would be a little bit of heat or shadow here. There's my ear on the other side. In before he finished the mouth and finished down here, I think I'm going to start to define his brow. Now I've got a rounded shape up here. Strictly speaking, this whole thing should be dark, but I really want, I like this effect. So I'm going to cheat just a little bit and keep that maybe a little more open than I would. Let's see how it works. And if it doesn't work, I can always just drop more shadow in. I really want to yeah, I don't know. We'll see still debating with that one shadow along the top of this ridge here, along this sheep. And I really want to get these interconnected and kinda working. And that can be a bit of a push and pull and erasing. And we'll see if it comes to that. That's what we'll do. And I really want, I'm defining these kinds of shapes in. I try not to worry about whether it's going to work on it because if it doesn't, again, I can fix it. I can wait it out and I'm willing to do that a million times if I have two, I want the picture to be as strong as I can possibly make it, and it is absolutely worth it for me to put the work in. And this is really punching in here. Let me clean up some white lines. I want to open that up. And here I am a 100 percent lost. I'm making this up. And I'm hoping for the best. And I might even be better off to just shout or this whole thing up here, but I don't want to just go ahead and do that. I am actually going to his nose out just a little bit by going across with that up above this nostril either side of that. And it was just a little bit better. I think that works a little better. And I'm going to leave it like that. I don't want to get, I don't want to shadow everything out here. In defining these little shapes in for some reason I'm having trouble thinking of my lighting the way that I'd really like you. But I think actually that worked as I was saying, that I have delicate kinda keep together just a bit. Okay. Along the top of his head where it curves away from the light. I might have to erase back into that I think up in the half-year for sure for the hairline, but just to give the overall kinda lighting working. And let's finish his mouth before we move on it. And so he's going to be dark all in, all in here. There's nothing else. His tongue would cast a shadow all up in through here. So let's just make that dark. This is like process of elimination right now. No shadow of my gums away from the light. And I think I want to go just a little heavier here. Because I went heavier here. I feel like it's not enough on this side. I think that works a little bit better. Okay. Shall we got for my lip some way, form lines here a bit and have my teeth here. The tops of my molars, I can just go dark. Inside my teeth on this side, we're going to make dark. And I won his Lip with a shadow over his teeth just a little bit. So let's get that in. I think this whole area here would be much more away from the light. Let's make sure I think all the shadow that out. And I think overall clean things up. And that's basically going to work for me. Pretty much. It's a good black and white framework that I can hang the rest of my detail on. And obviously, I can leave the picture like this and I think it would work just fine. And that's really the idea. I want to make sure that my basic black and white drawing was shadowing works. And I'm not relying on lines and detail to get a picture that works for me. And I really should finish out his hair tool. We'll just do this very quickly. Shadow along the side here. Just real quick block in. And obviously this hair is getting very, very loose, but it's really not the kinda the purpose of this lessons I had. Don't want to extend this out by an hour while I slowly detail in my hair. So just in terms of a very, very quick shadow patterning across my air, I think that's about what I'm going to go with and let's properly erase this out. So it actually sits on the head. So now from here, we can go ahead and start to put in our final detail. And so my rendering is all coming down toward forgot to finish his mouth. Top twist on that I think would be fairly shadowed. So let's get that in. And there we go. There we go. Alright. Yeah, that's going to do that. They're defined the top of his lip as it runs toward the light. Come around its nose here. And just for the record, I highly recommend you look at Kelly Jones. His work is very, very cartoony and crazy, but he does incredible lighting like this, sort of lighting. The way he defines it around his features and gives an overall effect is very nice. So he's a good artist to look for this, look out for this. I think another one is, as always Kevin Nolan. He's great for defining features with this kind of lighting. In general though, it tends to be a little bit more difficult to find good reference for this sort of. Lighting scheme than it is to find something more simple. Because it's much more unusual. This is a very dramatic way to light a figure. And you really need to have either a good story reason or you need to have the kinda, kinda character that can support that. I'm going to render out from this cheek over his brow. Hopefully it won't destroy the illusion that I put it in there with his eyebrow. It's very easy. Get really precious with one part of a picture if you like, how it turned out and when it's not working for the overall picture to try and maintain it anyway. And I have a feeling I'm probably doing that there. I really think that I am actually going to let it go. It goes at least part of it. And at least I still have it over here. So I think it'll still work. Ideally, if you have something like this that you really wanted to find that it's really important to you. Do you think it's going to look really cool? You really want to plan your whole picture around it, I guess, to make sure that you don't end up drawing yourself into a corner where you can't leave it in without it just being blatantly wrong. And I'm making sure to render out of my shapes toward the light source which is below. They're all coming out underneath my forms as opposed to above them. How it would normally go about it. Go through all the way around. Just try and be patient. Especially on a deadline. I find it can be very difficult. I enjoyed this part of the picture because at this point I've made all my decisions. And so I'm not having to put a lot of thought and then that can be nice. But when the deadline is looming and this is the last bit you have to do before you can turn it in and go to bed. It can be very difficult to have the patients to sit and make sure that you're consistent across. Create a bit of a ridge here. Some of the places where as very reluctant to put lime in, I can just slightly indicated shadow just with a little bit of rendering like that. Ran that back away from the light source and rendering there. Maybe. Give this a try and see what happens. See if this will work for me or if it's something I'm gonna need that. And I think that worked well enough. And so what I did is I clean that back away from the light just with a little bit of rendering. But it's not fully shadow to the point where it would really close. Drop that back a little bit with the little bill, I'm work. This whole area here would drop back with some nice heavy lines that some lines going across to push it back even just a little bit further. Large lines along here really push this form back away from the light. And consistently running up the form and along this one behind that. And obviously if you're doing this with ink, you can do it with line pressure as opposed to balling up your line the way that I am with the pencil. And that's come over his chin. And do the same thing I did on the other chain, the interest creative, but Origen, there is really no anatomical reason for that other than I think it will look cool. And if it doesn't, I just move on, erase it and try something differently. Let me clean that up completely. And that's really opened up to the light this whole side here. And now with the neck, my rendering would come through here, through here and get finished the whole thing out. But I think in the interest of one year is longer than the other. Let me fix that quickly. That's a little bit more consistent across. And for his eyes, I've got a pupil here. We're going to lower this one. Well, that work. Yeah, it went up and then the rest of my eye my iris yes. Here. And my hotspot for my light, it's going to be here. And so what I can do is just shadow like that. That form with little line weight. I think because this is turned really toward the light, I'm going to go thinner there. And that's going to be it. All right. Thank you so much for watching. I hope this was helpful and informative for you and will aid you in drawing your own work. And I will see you in the next course.