Drawing the Face in Three Quarter View

1. Intro to the Class: Are you ready to advance your drawing skills to the more challenging three quarter view? I will teach you how to draw the three quarter view by learning and understanding the structure and symmetry of the face. We will do a demo drawing together in real time. How is my method different from other methods like drawing with a grid? My unique method of drawing teaches you proportion and alignment of the face and not just to copy square by square. This is knowledge you can take with you. The goal is to help you draw better by identifying the alignment of the facial features in this three quarter view and to use key features as an anchor to start your drawing. Then you'll use the anchor to measure the other features of the face with correct proportions. This technique will give you the freedom to draw from live models or in real life. I'm Rachel Fia. I've be enjoying my entire life, and I also study visual arts. And whether or not you went to school for art, essentially, we are all self taught because art is self expression. My philosophy is that artists are not photocopiers. We are interpreters, and we create what we see through the filter of how we feel and who we are. My personal style is relaxed realism. I always aim to capture the emotion and essence of the person first and then the likeness of the face. This class is for all skill levels. It is designed in three parts. One, learning the alignment of the face, two, mapping out your reference photo, and three, using these techniques to draw a portrait in the three quarter view. At the end of this course, you'll achieve the skills of alignment and proportion for drawing the three quarter view. This new understanding will give you an advantage when drawing any type of face in any medium in this pose. So, let's get started. 2. Project Description: Your final project will be to draw a portrait in the three quarter view from a reference photo with proportional mapping. This course will prepare you every step of the way. Once you choose a reference photo of a person in the three quarter view, you will use the knowledge from the alignment lessons to create a mapping guide that you'll use when drawing the portrait. I will show you how to lay out the features of the face on a blank paper and you will draw with me in real time. You will follow along with me as I measure and sketch each of the features in relationship to each other. And then we will develop the details with shading and also revisit techniques to bring these features alive. Once you've finished rendering the face and all of its features, then you'll have drawn a complete portrait in the three quarter. This is a community environment, and sharing your artwork is one way to connect with fellow artists. There is a project area in the class page, and you can upload images of your artwork with text and comments. So please post your final portrait, and I look forward to seeing it. 3. Supplies: For supplies, it depends on what type of media you will be using for your drawings. If you want to go digital and you have a Wacom and a laptop and you want to use your favorite software, you can do that. You can also use an iPad that is compatible with an Apple pencil and use Procreate app or another app that you prefer for drawing. If you're going to go traditional media. We will use drawing paper. I'm using a very large sheet, so you can see it on the camera, but whatever size sketch book you're comfortable with. Then definitely some softer pencils. This is a two, three, and four B, and it'll make it easier for sketching and erasing. Then I have a magic rub. A foam eraser, and then I would say my favorite eraser would be a gummy eraser because you can get very precise or use large areas to erase. The choice is yours. I will be switching between a couple of different ones for examples, and go ahead and get your supplies ready before we start to draw. 4. Views of Face: Let's briefly go over the different views of the face. The first one we'll talk about is the front view, which is where you see 100% of the face. The next common would be the profile view where the face is cut in half and you see 50%, and that would be exactly where the nose is. Then more common one I see lately is a 25% view, just a sliver of the face. What we will draw today is the three quarter view where you see 75% of the face, and this is probably the most challenging. We'll go over each one of the views individually and briefly just to give you a little bit more information. The first view we will talk about is the front view where you see 100% of the face, and we also say that you see all four quarters of the face. By quarters, we mean just measuring the face by cutting it in half directly in the center of the nose, then again, directly in the center of the eyes. That gives you approximately four quarters of the face. But because of foreshortening and the camera angle, which just means it's being flattened out, you don't see the sides of the jaw and the side of the ear of the face. These four quarters are just what you see facing forward. The next view of the face is the profile view, which is just 50% of the face. It is the head turned to the side, exactly where the profile of the nose shows, and the second quarter is the same as when we're looking from the front view, it is cut through the center of the nose, and it goes to the center of the eye. Then from that, you have the first quarter from the center of the eye to outside of the eyebrow. Now, when we were looking at it forward, the face was being flattened forward, and so you couldn't see the jaw in the ear. Now we are flattening it from the side view, which makes the center of the face look a little different. The one we will be drawing is the three quarter view. Now, you still have the line in the center of the nose, but because the eye is tilted, the head is tilted, you will have the first quarter will only be a sliver, you only see a piece of the first part of her face. You'll see the entire nose and the profile, and then the full mouth and lips. Then the lines also still go through the center of the eye and you'll see that last quarter. The last view is the one quarter view, and that is going through part of the eye and that one sliver we talked about, this would just be a simple one quarter view. That is it for the views. The next section, we will talk about symmetry and how the features line up in the view that we'll be drawing. 5. Symmetry: Before we start drawing, I want to show you the symmetry of the face. Now, while each side of the face is different, it is not symmetrical. There is a symmetry, or you could call it harmony between the different features of the face in relationship to each other. I will show you a few of the alignments that will help us when we're drawing the next three quarter view. If you want a comprehensive guide, you can check out my other class, Relaxed Realism. This works when we have a forward facing view where the camera angle is straightforward, and we're going to take a look at the first alignment, which is the top of the ears. If I draw a line from the top of the ears across, you will notice that it touches the top of the eyelids. If I draw a line under the bottom of the ears while even though they're slightly different, it will touch the bottom of the nose. Within this frame, you have the eyes, nose, and ears. Now if I look at the next alignment, it's going to be vertical, I want to look at the center of the opening of the eye, not necessarily where the eye is looking, but the center of the opening. I'm going to line that up with the corner of the mouth and the corner of the chin. If you notice, there is an alignment here between the opening of the mouth and the outside corner of the chin. The same on this side, if I look at the center of the opening of the eye and draw another vertical line, you'll see the other alignment. The next alignment is the inside opening of the eye with the outside of the nose. Some people do have a larger nose bridge and in that case, usually it aligns with this little curve right here on the outside of the nostril. We're going to take a look at the inside opening to the outside of the nose, and that's our next alignment, and the same on the other side. For the next alignment, if someone has points on their lips, those typically line up with the center of the nostril on each side of the nose. These are the basic alignments. The lines will stay the same. However, as we rotate the face and look at the different quarters of the views, they will start to move a little along the curvature of the face and take in account for the foreshortening and perspective from the different views. In the next video, we'll look at these same alignments for the profile and three quarter view. 6. Profile and 3/4 Symmetry: Before we start drawing the three quarter view, I want to stick with the alignments and the symmetry to show you what the face looks like as it's turning because each view has a different look to it and I know the three quarter view is probably the most challenging for your eyes to coordinate all the features. Let's start with the profile. And we're going to do the same quarters and alignment that we've been doing. If you remember when we were facing forward, we drew a line in the center of the face. But the profile is that, exactly, it is cut in the center of the face. Before the nose and mouth were flattened due to foreshortening. I'm going to ignore those for now, and we're going to look at the line down the center of the face, and I am turning my ruler at an angle just because that's the way her face is tilted. If I draw a line through here, This would have been the second quarter that we saw facing forward, and we also had a line down the center of her eye. If I put another line approximately here, that is going to start the first quarter, which if you remember, was a little bit past the eyebrow. This is the profile. It's only 50% of the face. We only see two quarters. Now, we just learned some alignments. Let's add those in. We looked at the top of the ear to the top of the eyelid. So I'm going to make a line with that. Then we looked at the bottom of the ear to the bottom of the nose. If you notice, these lines get narrower, they start to converge here, a little vanishing point because her face is actually curved. We're going to keep that in mind. The next alignment was from the center of the eye to the corner of the mouth to the outside of the chin. I'm not going to draw a straight line this time because I want to show you the curve of the face. If I connect these dots here, there is a curved symmetry line here. We also learned that the corner of the eye aligned with the outside of the nose. There's a small line there and the center of the nostril aligned with this point in her lip. The alignment and quarters will look completely different from each view of the face. Next, we'll take a look at the three quarter view and we'll do the same thing where we put the quarter lines and the symmetry lines. Let's start with the quarters. If you remember, we drew a line directly down the center of the face. Again, it's going to look different at each angle. If I do that and keep my ruler at the same angle as her face, it's going to come in somewhere around there. I know that looks a little odd, but that is that third quarter here that you're seeing that's a sliver. The second quarter was at the center of the opening of the eye, not necessarily where her eye is looking, but the center of the opening of the eye. That was our second quarter. The first quarter started somewhere around the edge of the eyebrow. These are the first three quarters. The third one is just a sliver and if you want, I'll draw a line there. This is the first three pieces that we are going to see in this view. Let's go ahead and add the alignment lines. We looked at the top of the ear and the top of the eyelids, put a line there, and then the bottom of the ear to the bottom of the nose. Again, if you notice the lines start to converge because her face is rounded. And so it is foreshortening and also having a vanishing point towards the edge of the face. Then the other symmetry lines we looked at was the center of the opening of the eye to the corner of the mouth, to the corner of the chin. Remember, we started to curve them because now we're looking at a rounded view of the face. I want to draw these three together. Then we can see on this side. Again, the center of the opening of the eye and the corner of the mouth, and we can only see a piece of the chin. The other alignment line was the corner of the opening of the eye to the edge of the nose. We can't see this one because the bridge of the nose is covering it. We can see the point of the lip, so the center of the nostril to the point of the lip and a little bit on that side. As you see as we start to tilt the face, the alignment starts to look a little different, but it's still there. It's just curved now. We're using these alignments and quarters to map out the face so that when you go to draw from your reference photo or from life, you start to learn how things are lined up on the face, and that can help you make proportion corrections as you're drawing. 7. Reference Photos: I've put together some reference photos for you to look at and to choose to draw your three quarter view. One of the biggest features of the three quarter view for me is you'll notice that you're going to see the brow and it will be a little further out than the forehead and all of these tend to have that feature, and that's one characteristic of the three quarter view. You will see the full eye and the full mouth and the second eye, often, the curve of the eye will be at the very edge of the face line. You'll see the full bridge of the nose. Like a profile, you can see that outline of the nose. Then you'll also see the cheek and sometimes it will go behind the nose depending on the face features and the camera angle, and you'll see the full roundness of the chin on all these. I really like to see the jaw line here, and of course, these are models, so they have a really nice jaw line. And you'll see the full ear and for drawing, it's a little helpful in this position to have the full ear showing so that we can use this later as our guide post to align the features. The ear will also look like it's a little further back than the head, and you only see about a quarter of the head, a quarter of the skull will be here, and the ear will be coming out further. You also see the neck and some of these you can see the front of the neck. The back, the shoulder. It's a really nice pose to show all these little features that often get hidden when you do a forward facing portrait. I think you'll enjoy the three quarter view for drawing all these details that you don't always get to see in the face. Go ahead and pick out a photo that you want to use. It could be your own or one of these free photos that we'll use to draw the three quarter view. 8. Mapping Reference Photo: Before we get started on our drawing, we're going to do a little bit of mapping on the reference photos so that we know some of the major guidelines and it'll help us when we are drawing the proportions of the face. First, we're going to do the three quarter view of the face and just put those lines there as a guideline. Now, if you remember when it was facing forward, the center of the face was in between the eyes down the center of the nose. There's a little bit of angle to her face. I'm going to draw the first quarter like this. Then the second quarter was in the middle of the eyes, we'll draw that quarter. Then the third one would be approximately the same width out here, where her hair line ends. We've got the 12, three quarter view that we are seeing. Now before we add these other lines on here, some of them I drew straight just for simplicity of teaching it. I'm going to go into a little more depth now that you understand the alignment a little more. If you think of the face as a sphere, the head is rounded and the features on the front of the face are also rounded. We're not going to draw straight lines at this point now that you understand the concept. We are going to look at the lines of the face with a curvature. Instead of just drawing a straight line on the top of the eyes to the top of the ear, we're going to curve that a little. The other thing I want you to notice is that this part gets smaller and this part is wider, and that is the foreshortening of something closer to you, which is this i, and something farther away from you, which is this i. That's why this i appears slightly smaller. The bottom of the nose is going to be on the same type of curve, but now if the face was in half, this would be like the equator right and then underneath the lines are going to curve from the bottom. The bottom of the ear to the bottom of the nose. The next line is going to be the inside of the eye to the edge of the nose. We're going to make a nice little curve there. It's a little subtle, but the roundness of the face and the cheeks, there is a little bit of a curve. Then the center of the eye is going to go down to the outside edge of the mouth, and then it's also going to go down to the outside edge of the chin here. Now, she has a nice defined filtrum here, and that is just the valley in between these two ridges on the top of her lips. If you remember, the nostril meets the top of the lips, so there's a little bit of a curve here and here. She also has a cleft underneath her lip here and here, under her chin. This is all we're going to need to map out the reference photo so that we can start drawing and have some simple guidelines. Basically, the ear is an anchor or the nose is an anchor for the rest of the face. This determines the proportion for the eyes and the proportion for the width in through here and the rest of the face. In our next step, we will start drawing our reference photo. 9. Project Drawing Nose Anchor: We are now ready to draw the three quarter view portrait, and if you want to go ahead and get out your reference photo with all the quarter views and the mapping alignment lines. Just keep in mind, this is a demo drawing. We are in sketching mode and it's not going to be an exact replica. The important part is to learn the alignment of the features of the face. With that being said, if you're drawing digitally, it's best to put this image off to the side and draw on a different part of your screen and not actually copy it. I'll be using pencil, paper, eraser, and ruler. We'll get started. The first part we will draw is the nose, and the nose is going to be the anchor of the face. The reason why it's the anchor of the face is because it will determine the size of the ear as well as the placement and size of the other features on the face. We're going to start very simple with just this first quarter line as a guideline and then the line across the top of the eyes. If you remember, we drew the quarter lines at an angle to match the tilt of her head. If I want to keep that same angle in mind and draw this first quarter here, Then the second line I'm going to draw for a reference point is the top of the eyelids, is a little bit of a down curve that comes upward and then curve slightly down where the ear will eventually be. Keep this a loose line. We might have to adjust it as we draw. If you're drawing digitally, you can put this on another layer. I will start with the bridge of the nose, which is the long top part of the nose. Depending how you mapped out your reference photo, we'll determine where you're going to place it along your guidelines. Mine is coming a little bit off the first quarter at a curve here, the top of the nose. Again, we want to keep this angle in mind and try to imitate that angle. Then if you say, Well, how long or wide should I make the nose? We can use i hand coordination and attempt to draw it. We can also use a proportion check. Let me show you how I do that. I take an extra piece of paper or card, or if you're doing a digital drawing, you can add a new layer with just a line. What I'm just going to do very simply is measure the length of the bridge of the nose, just an approximate length. Then I'm going to say, how wide is the base of the nose in relationship to the length of the nose. This is the width of the nose, and I'm going to say it is approximately three quarters wide in comparison to the full length of the nose. This is just a guide, but I can measure mine and see because I may have drawn mine larger or smaller. Then I want to see how that measures up. If I guess about three quarters, three quarters for the width, I'm looking at somewhere around here, which is about what I have done free hand. Just as a check for the width. Now, if this doesn't work for you, I totally get it. Some people don't like fractions. We want to get the basic shape of the nose, and I can see there's a bridge here and then it comes out just a little bit with a nice point on the edge. I'm going to try to get that point before I go too far on my nose. I really love the way it has a point and then a nice curve down. Then there's a small upward curve where the nostril is going to be and then a little rounded area for this nostril flap. It's better to get the proportions of the features right before we start shading. Take your time to erase and move things around as you need. The nostril doesn't quite go that far. It is shaped like a little paisley or tadpole, and I'm just going to lightly shade that for now because I might move the nose around. I don't want to get too dark yet. 10. Project Drawing Outside Eye: The next part we will draw is this outside eye, and this is probably the most difficult part of the face to draw because it looks like the eye is coming out of the nose, and we know that's not true. It's just we can't see much of that side of the face. One way to determine where to put the eye is again to use the little proportion check I showed you, where we look at the length of the nose. We look at this bridge here. Then I can see that i is here. If I look at this, I'm going to say this is a little less than a third. On third, if we have this broken into thirds. This is a little less than a third where the i is going to appear down the nose. If I check my own nose that I drew, just the bridge part, and I break that into thirds. And then maybe just a less than that. I'm going to place my i about here. This gives me an idea of where that i is going to come out. Again, if this fraction method doesn't work for you, you can guesstimate how far down the bridge of the nose the eye is coming out. We don't see the full circle and one way to think of it as a little puzzle piece. This ris has a rounded side. I can see half of a circle and then there's a straight line where that bridge of the nose is, we already have that drawn, and then the eyelid creates a little curve line on top of the eye. That is the basic shape of the Iris more or less. If you want to draw the pupil, so it looks more like an eye, the pupil is very large and it's coming out of the top of the eyelid and touching the nose. I like to leave a little circle or square where I'm going to leave the glint to the light. I usually move the glint into the pupil so that it's consistent on both eyes. Then you can shade in where that pupil is going to be. If you want to shade where the eye is, you can shade the iris lightly, and then sometimes I put in a little zigzag pattern for that pattern in the eye. If it gets too dark, you can always take a gummy eraser and dab it like that and that keeps it from smearing. If you move the eraser side to side, it tends to smear the graphite onto the paper. We have the basic shape of the iris. Now the next difficult part is this white of the eye. If you see it looks a little bit like an egg. It's coming down and there's a little bit of a point, and then the bottom comes back around at a curve to meet the iris. You don't see too much of the white of the eye. Try to get that shape of the white when you're drawing. Don't think of the entire eye. We're going to draw this face and little puzzle pieces. The next part we can draw is the eyelid, but there seems to be about three pieces of the eyelid. We have this line that we created for the white, and there's a little bit of a ledge there under the eyelid. Then you have the curve of the crease of the eyelid on top of that. Try to break it into little pieces when you're drawing it. And then the eyelashes come out of that top of the part that's touching the white. Just throw in a few eyelashes to help you with that. Then it looks like a angled line from the eyelid to the white part. The crease of the eye disappears around the eyelashes. Let me fix that real quick for you. One more piece of the eye. It looks like it comes out like a point here is this ledge of the bottom lid. It's very subtle, but you can put that in softly. Then if you want to throw in just a couple eye lashes to help you see that eye. 11. Project Drawing Outer Features: Next, we will put in the eyebrow. If you notice there's a nice curve here from the bridge of the nose that just keeps curving outward at a slight angle for the eyebrow. That comes a little bit over the ridge of the socket. If you notice there's a little bump here where the eyebrow is in line with the eye lashes. If you want to draw lightly the hair is there that'll give you a nice reference point for the eyebrow is hitting. Then we're going to draw this line here from the eye socket down to the eyelid. It comes inward a little and then curves outward towards the eyelid. Then at this corner where the eyebrow has a little bump. We'll do a little bit of the forehead to the first quarter and then we're going to work down the face. Let's curve. You notice there's a curve in after this bump. And then it curves back out a nice rounded forehead about to the first quarter. Let's leave that there for now until we get to the rest of the face. We're going to work down the side of the face. The next part that is very challenging visually for your eyes is this part under the eyelid. It looks like it's touching the nose, and we know that's not true. Again, it's just we can't see that side of the face. There's a little bit of a curve to it as it touches the nose. Then we're going to work our way down. Underneath the nose, we have these two little curved guidelines for the filtrum, and the filtrum is just this little valley between the peaks of the lips. We got those. They're not very long, maybe as long as the nostril is. We'll do the first curve of the lip, which is outward, is a nice curve outward from this point. Then there's a little valley right here in between these two points. It goes downward. Then we're going to get the second point of the lip and curve that down and out. We don't know how far yet because we don't have our reference lines, we don't have the rest of the face. We're going to finish the lips later. If you notice the lips meet underneath the top lip, but then there's an opening. I'm going to draw just a placeholder for this opening, and I don't want to get it too dark yet until I see the rest of the face. We might have to make an adjustment. Then the bottom lip touches the top lip and has a nice little curve coming outward. It's a little bit more inward than the top lip. It's going to curve back around up to where when we eventually put the edge of the mouth. The next thing I want to look at is this angle of the face. This angle of the face is going to help us as we are drawing this outside part of the face. If you notice, there's another spot between the nose and the lip where you can see that outside cheek again. It looks like it's touching the nose. We know that's not the case, but we have to draw this line here. A little bit from the lip is our outside cheek. Then if you look very closely, you can see a tiny bit of cheek in between the lips. Then under the lip, I'm going to keep drawing the chin and I'm going to keep this angle here that I have. The chin comes in a b and there's another guideline set we had to show that a dimple under the chin. There's a little bit of a curve where that happens. We have a bit of a straight part on the chin and here's where it starts to come out, not too much, but a nice curve and she has a prominent chin, and it's going to go past this first quarter. 12. Project Drawing Inside Eye: Now we're ready to draw the second, the inner ei. And we already had a loose guideline here for the top of the eyelid. We also had a bottom line under the eye lid. Keep in mind there was an angle upward. We want to maintain that same angle underneath the eye because this eye is a little bit higher and larger than the other eye. If you remember from our mapping, we had a guide line from the outside nostri that went up and curved towards the opening of the, the corner of the eye. If we put this line in here, this is going to give us a guide for where to put the opening of the second eye. We've got this little triangle corner here, and then I'm just going to draw the inside, not the lid, but the inside where the white is. I'm going to try to get that shape first, and it is at a upward angle. There's a tiny squint, you can see the muscles contracting under her eye. There's a little bit of a squint which brings the eye lid closed. Once you get the shape of the eye, if you notice there's a little white triangle in the corner. The iris does not go all the way to the end, this can help you with a little guide. There's a lot of the white of the eye on the front part of the eye. If you want to go ahead and put that round iris, if you notice we can only see part of the roundness. And you might have to make a few adjustments to get it right. If you can get the eyes right, then the face will pop. Let's work a little hard on these eyes. And the inside pupil touches the top lid, but we can see the roundness of the bottom of it. Her eyes do have larger pupils. They're a little bit dilated. Again, leave a little white square or shape inside of that pupil and then color, color it dark around it. Then I'll look like light is reflecting off of her eyes. Then for the iris, I do a light shade and then a zigzag line to show that texture in the eye. She is looking up and away. It's a little bit challenging pose of the eye. I might take a little bit of moving it around to get it correct. But I think it's worth it to get the placement, correct? The eyes are usually the biggest part of the face for expression. Once we get the basic shape of the eye, then we're going to look at the lids. Just like the other one, there's an underneath of the lid where the eyelashes are, you can throw a few in lightly. Then you will see the crease of the eye isn't all the way to the edge. It's maybe three quarters into the eye because her head is turned. We're going to add the crease of the eye. The eyelashes are growing out this way. If we want to put some of those in, just throw in a few that way. The bottom of the eye, we can't really see that ledge, but you can see a few tiny eye lashes forward. When we add shading, we'll add this line underneath the eye. Check to see that the pupils and the eye are about the same angle and the top of the eyes are about the same. Now that we have the eye position, we can draw the rest of the guidelines to get to the lips and see where the mouth ends. If you look at the center of the opening in the eye, we had a nice curve that went around the cheek to the corner of the mouth and a little bit past this first quarter, which is where the chin was. That would be our next guideline. We have the mouth about here. I like to put a little circle where the corner of the mouth is. That shows a little bit of opening in my opinion, and then we can go ahead and work on the lips a little, darken this opening. It doesn't go all the way to the end. Notice where the opening actually is and then it curves down and up a little. Then if you want to make the lips look a little more realistic, you can add these lines. They usually follow the curve of the lip. We will do some shading later, but just know that the top lip is usually darker unless it's very full because it's not getting any light. It's not reflecting any light. Make a small adjustment to the filtering here where the points of the lips are. And we'll add some better shading when we're done with all the features. 13. Project Drawing Ear: We're now ready to work on the rest of the face. We're going to work towards the ear. Let's go ahead and put in these second and third quarters now that we have that second y as a guideline. If you remember the center of the opening of the eye was about where that second quarter was. Then the th quarter, about that se angle, a little bit over, you can use your original mapping to see approximately where that was. Again, these guidelines aren't going to be exact, but they're going to help us map out the face to get to where we need to be. We can go ahead and draw the second eyebrow. Also notice the angle of the eyebrow. It is a little higher. Then the other one. It starts very close to the nose because of the way the face is tilted. The eyebrows are going to grow outwards, and then they're going to start going upward, and then as you go across the eye, the hairs will grow this way and Towards the end, they will grow down and out. You don't have to draw every hair. We can do a little bit of shading. But for the accent hairs, you do want to put them in the correct direction. Work on getting that basic shape of the eyebrow. Now that we have the quarters in, we can work on the jaw. We know how far we can go now. We've got the jaw line to the chin so far. And if you notice after it hits the second quarter, there is a sharp angle. We do want to keep that same angle as we move up her jaw. Her jaw goes past the third quarter and then has a little bit of a turn here and goes upward. I may have drawn my third quarter a little narrow. Use your best judgment on where that should be. It's not necessarily straight, it does come out at an angle, the rest of the jaw line. We need another guideline to know where to put this ear. If you remember, we had one underneath the nose, it was curved outward, and then we have the top it was curved downward. The ear is going to be somewhere in between these two lines between the eye and the nose. After we reached about the nose height, you can see the ear lope starts there. Ears are probably one of my hardest things to draw. One way around that is to draw the negative space. I'm going to draw the outside of the ear, not necessarily the inside first. I'm going to draw the negative shape of the ear. If you notice, The top part of the ear is quite a ways away from where the ear lobe starts. Maybe after where the ear lobe ends is where this top part is going to start. Mapping out that face with different reference points is a great way to know where to put the features. I'm going to work my way upward because I know I already have the ear lobe. I'm going to try to follow this shape of the ear around the back. I'm doing the outside part, and then I'm going to come around and now I've got the outside. I'm not ready for this part yet, just the outside. The basic part of the ear, and we can check before we get too far, maybe the placement of it. Once you get your ear in the right place, then we can start drawing some of the pieces of it. I see that this top part has an inner piece and it's like a little ridge on the whole outside of the ear. I'm going to draw that main piece and it folds into about here. Then there's an opening that connects to that. I'm just going to keep this very light and loose because I don't want to draw attention to the ear. I want to keep the attention on her face. Then you just follow the inside. There's a little bump that comes out and a curve down that connects back to this piece we started with. That's just a simple way to draw the ear. Just look at a few pieces, and we're going to leave it very light for now. 14. Project Drawing Hair and Upper Body: For those of you who are observant, you will notice that I move the ear a little. So just double check some of your alignments and see how they match up with the features of the face. And it's always better to make adjustments now, like I said before we start shading. The next part we will draw is this neck here, and I'm even going to go down into her sweater a little to give me more of a three dimensional feel of her actual figure and not just a flat face that we have so far. So let's look under where her neck starts. It's right about under this chin line, and then there's a little bit of a curve here. Then under her jaw is a little bit of a shadow line there. Then the back of her neck is way past maybe even like the middle of the ear, almost to the edge of the ear. Her neck line is starting here. And it's not straight. There is a slight angle to it. We want to get this right and then the rest of it, we will add once we get the neck correct. I'm going to also add in this collar of the sweater. That's going to help me see the rest of her body. Usually the clothing is a lot larger than the body unless it is tight clothing. If you just want to draw this line here for the top of the collar and notice that it dips back and it dips back quite a ways past the neck line and has a curve, and then the top also has a curve a little bit past the neck. And this can just be a very loose sketch. It's just to give some depth to her body. One of the best ways to draw clothing is to look for the seam lines. Here's the line of the collar, and then this seam line coming out for her shoulder, and then that is very helpful. Then there's a triangle point here. Then I can see more of the sweater line. It makes it a lot easier to draw. Then the back is pretty much straight next to her hair. We'll just leave that there for now. The next piece we will draw is we need to do the top of the head, but I'm not sure where to put that yet, so I want an anchor. I'm going to use this ponytail here as my anchor to know how to curve the top of the head. If I look at the placement, it is higher than the ear and a little ways. I want to say around here is that ponytail that I'm going to meet the top of the head to. From the back of the neck that we already have drawn, you can see there are some hairs that are loose and they're coming up around to this pony tail. And then some of the pony tail will be very close to her neck and then the sweater. For our purposes, we need to draw the rest of the forehead and the hair line and the top of the head. We already have to quarter one. Now that slope of the forehead keeps going upwards to quarter two. She has a very high forehead and her hair is pulled back, so it makes it look even more prominent. Somewhere around quarter two, we're going to see a hair line. Here's the hair line itself that's on the skin. Then the hair itself is quite a ways above that. It is in a very neat, tight ponytail. This is where I'm going to use this ponytail as my anchor to see where I'm going to bring my pencil around. I just want a nice smooth curve like this for the top of the head. Let's go ahead and fill in the rest of the hair line. The hairs are growing out and down past quarter three. They're coming on the temple. You can see them on the side of the face and even all around the side of the ear is a soft pieces of hair, as well as this sharper hair line that's up here. If you want to blend that in a little, we're not going to draw every single hair, but it helps to have a few of these darker lines, and when we get into shading, we can shade the base of it and then just use these darker lines as an accent. For the back of the hair, I'm going to focus on the same pony tail and I'm going to just make a really nice long sweeping line down the back of her sweater. So curves in it, some We'll have shadow later and just a nice, long sweeping line of hair. Again, we're not going to draw every hair, but we'll have shading when we're finishing this up. Now that you have all the features of the face and all the proportions lined up and everything drawn in a nice outline. Let's go ahead and erase all our guidelines. We'll take a pause. You can clean it all up. Let's erase all the guidelines, and then I'll go over some shading with you briefly afterwards to finish up this project. 15. Project Rendering with Shading Techniques: Now that we have all the guidelines cleared and if you're drawing digitally, that took what, half a second. That's one of the advantages. But if you're drawing with traditional pencil and paper, you could have erased everything and now we'll work on the shading. For shading, I like to start from dark to light. I'm going to look at the darkest parts of the features first. We already had the pupils. If you don't have them jet black, go ahead and make the pupils very black. Then the next part I'm going to look at is her nostril. The entire nostril is not completely black. If you look closely, just this outer pointed part is very black. And then as it comes towards the rounded part, that is shaded, maybe a little bit lighter, not completely black. Then the next darkest, we already had her mouth. If you didn't have that line nice and black, I would do that. Then I look for the crease in the eyelid. That is a nice dark line on both eyelids. Then I like to come in and look for the mid tones. So We talked about the ear. I'm not going to shade too much of the ear because I don't want to draw attention to it. I want to draw attention to her beautiful face. But you can do underneath these curves of the ear, lightly shade those. There was a few darker corners of the ear, you can add to and whatever you make dark is going to pull the eyes there, so I wouldn't go too dark with that. I would focus on her lips because the mouth and nose and eyes are mostly the features that are focused on in this photograph. The top lip is a little bit shaded darker than the bottom because the bottom lip is catching the light. You can see look a little highlight. Only this part is shaded completely. You can use a blending stick, or if you are like me, you just use your finger, or if you're doing digitally, there's a little smudge tool. Then the filtrum here is like a little valley between the nose and the lips and between the points of the lips. You can just have that light there. The other mid tones I want to look at are around the nose and the eyes. There's a little part here by the point of her nose that is a little darker. Then obviously, the corner of the nose, there is a shadow around that outside nostril flap. Then also underneath the nose, slightly, there's a little bit of shading It's up to you how much shading you want to do. You could really go all into it, or you could keep it subtle, or you could keep it mostly lines, how we just had it a few minutes ago. It's up to you how you want to do it. Experiment with the different levels of shading, how dark you want it to go. This side of the face is not as light, you can see a little bit under the eyes. Definitely a lot of shading around this eye. And that's going to show the roundness of the eye and make it less flat on your paper. Also underneath, we talked about a little bit of a line here from where she's squinting her eye where the muscle is engaged. Then you have to distinguish between makeup and shading. She has very light makeup, but there is some sometimes underneath the eyelid, very subtly shaded. Then underneath this eye a little bit. You can go down all the sides of the face. If you want to accent for the light, you can use an eraser and show that light back in if you got rid of it on accident. That's another way to bring out the features is to erase some of the shading. Obviously, the more you shade, the more dramatic it's going to look, the more the features will pop. A little bit of shading where in that line we have under the chin. More for the lips. If you look closely, it's almost like a little bit of light around the lips. This is just an eraser pen. You can add to that. Then under the neck, you want to give her some depth. There's a lot of shading here. Definitely around this ear. Then like I said, for negative space, I like to go behind the ear. Her forehead has some shading here that shows that curve. Then when we get to the hair, you can do a light shading on the hair, depending on the person's hair color, so she's more blind, I wouldn't go too dark. But I'm going to shade around the ear where some of the darkest points are behind the ear. Then when you draw in your few lines for the hair, try to go in the same direction they are growing. Usually look a soft downward motion. And then under the hair, I usually like to pick a few dark parts to highlight by showing the darkest point and then some of the lighter pieces just have a few lines in it. And then we talked about these little neck hairs back here. When you have a few messy little hairs, I think it adds to the naturalness of it. If you want to shave the clothing a bit, We're just finishing up a little bit, add any final touches you want to your shading. We're going to talk about the cheekbone. Usually there's definitely some shading on the cheekbone. You can blend that in, smooth that out. Experiment with the shading and drawing and don't forget to sign your work. That is one thing. You should be of your work, sign your name on it. Please post it in the class. I'd love to see how your artwork came out and whatever you do, keep drawing. 16. Final Thoughts: Congratulations on finishing the course and drawing a full. For some, this may just be practice, but others, this may be a first. You're taking time to learn and grow by taking a course like this, and that is so vital for a creative person. Also, I would love to see how your final portrait came out. So please post that in the project area and let me know if you have any questions or comments. I'd love to hear from you. And thanks so much for taking this course, and no matter what you do, keep drawing.