Head Drawing Basics: Drawing Realistic Noses / Portrait Illustration & Sketching

1. Course Trailer: Hi, my name is Ethan When I'm a portrait artist and teacher. And in this course you're going to learn a powerful system for constructing the nose that will allow you to draw the nose from any angle, even if you're a complete beginner. By far, the most common mistakes artists make when drawing the nose is they simply don't understand its structure. So they resort to just copying the outline and what they see, which results in a flat cartoonish knows. Well, in this course, we're going to fix that once and for all by demystifying the structure and anatomy of the nodes. First, you'll learn how to simplify any nose into its most basic form. Then you'll learn how to layer on anatomical details that will instantly inject your nose with a sense of realism. Just these two steps alone will be a game changer for your drawing skills because they'll allows you to approach any nodes from any angle and quickly establish a three-dimensional structure that you can then refine with more detail. You will never again have to stare at a blank page and be overwhelmed not knowing what to do. Once we have the basic structure establish, you'll learn how to use the planes of the nose to make your drawing even more realistic. Understanding the planes is the secret sauce to being able to share the nose at a high level. To help you put all this into practice, we're going to do a bunch of drawing exercises with different knows types, lighting conditions, and camera angles. We'll use tracing exercises to teach you how to look at our nose and be able to see is underlining structure and planes. Then I'll show you step-by-step how to translate that information into a beautiful drawing from the initial land to a finished rendering. In this section, you'll learn things like how to use soft edges and shadow mapping to make your drawing realistic even without any shading. This is crucial because if you can't make your drawing look three-dimensional, just using lines, then you're shading is doomed to fail. You'll also discover how to use hatching and crosshatching to enhance the form of your nose and add a dynamic energy to your shading. And a whole lot more. The drawing demonstrations will be done digitally, but all the concepts and techniques will work for any medium or software. So even if you're using traditional pencil and paper, you'll be able to follow along with everything we're doing. Once you're comfortable drawing and shading noses from observation, I'll show you how to apply the concepts you've learned to drawing stylized and exaggerated noses. This is where it will get really fun because you get to be creative and design interesting character types. You're not just copying the reference anymore, but making it your own. Lastly, you'll discover how to easily draw noses from your imagination. Being able to draw from imagination is an extremely important skill, but it's one that so many artists struggle with. And the beauty of this constructive drawing method that you're going to learn is that a trains you to draw from imagination from the very beginning. Once you understand the structure of the nose, you'll be able to construct M manipulated in any way you want. Well, I hope you are excited to take your portrait drawing skills to the next level, and I'll see you on the inside. 2. Materials (For Digital Artists): Before going into the lessons, I want to quickly go over the materials I'll be using in this course. Now, I just want to make clear that you absolutely do not have to use the same materials as me. In fact, I made sure that all the concepts and techniques in this course will work regardless of the materials. But just in case you're curious, here's what are we using. All the drawing demonstrations will be done digitally. Don't worry if you want to use traditional pencil and paper, you can do that as well. And I'll lay out the recommended materials for that in another video. As far as digital is concerned, I'll be using Adobe Photoshop CC, but pretty much any other drawing software will work just as well. Within your drawing software, you only need three things. Layers, which will act as your paper, the brush tool, which will act as your pencil, and the Eraser tool, which will act as your eraser. The paper. In this course, are we drawing on toned paper? And we can create that paper very easily. When you first open Photoshop, you'll be greeted with a window that looks similar to this. Just click on Create New to make a new document. You can set the size to whatever you like. I'll make this 124 by 18 ". Then hit Create. Alright, the first thing we need to do is turn our paper. This default background layer is currently locked, which means we can't make any changes to it. So I'll click on this icon that looks like a lock to unlock it. Let's name this layer background. The fill the background or select the gradient tool on the left side menu. Or you can also press G on your keyboard. Now, right-click on the icon and you'll see some additional options. Select the bucket tool. Next, go to the color picker and select what color you want the paper to be. I'll use a middle gray value, but you can use whatever color you like. Then click on the canvas to fill it with that color. And as our tone paper. Now, we can draw directly onto this layer. But the problem with that is if we need to erase our marks, it will also erase the background color. So here's what we'll do. Instead. We'll click the lock icon to lock this layer so that we can't make any changes to it by accident. Now, click on this icon to create a new layer on top of it. And we can draw onto this layer. This way, if we need to make any changes will only affect our drawing and not the background. In fact, I like to separate my drawings into several layers. E.g. I. Might put the lay in on one layer, the base tone shading on another layer, the hatching on another layer, and the highlight on yet another layer. This way I can make changes very easily. If I don't like to highlight on the bridge of his nose, I can select the highlight layer and erase that part without affecting the rest of the drawing. If I wanted to see what the drawing would look like without the base tone layer, I can click this icon that looks like an eye to turn that layer off. Let's turn off the hatching layer as well to see what it looks like with just the lane and the highlights. That actually looks pretty cool. And I might have never known that if I didn't separate my drawing into different layers. I can also just reduce the opacity of the base tone layer to make it lighter. So as you can see, using layers is a very powerful way to utilize the digital software. The brush. You can access the brush tool here on the Tools menu, or by clicking B on your keyboard, you can access the brush setting window by clicking on this icon in the upper left menu. With the brush tool, you can use different brush tips to create different effects. The brush I'll be using in this course is the Kyle's ultimate pencil hard. This brush just mimic the look of a graphite pencil. It should be available as one of the basic brushes that come pre-installed in Photoshop CC. Just look under dry media brushes. As a quick note, when using the brush tool, make sure the mode is set to normal. Now, if you don't have access to this brush for whatever reason, don't worry. Any sketching brush will do as long as it can make a line of work. When drawing the three settings you can play with to create different effects. The size of the brush, the opacity, and the color. E.g. let's set the brush size to a small value. This allows me to make thin parallel hash line. If I wanted to make things darker, I can cross hatch over the first layer. This hashing technique is used to add texture to our shading. If I wanted to cover a big area with an even tone, I can increase the brush size to really large so I can do it more easily. You can change the size using the top menu, but when drawing, I find it much easier to use the left and right bracket key on the keyboard. Press the left bracket to decrease the size and press the right to increase it. If we wanted to make our marks lighter, we can of course, just reduce the pressure we put on the pen. But another way to do that is to adjust the opacity. E.g. if I lower the opacity of my brush using this top menu. Now, when I shade, you can see that the tone is much lighter. This allows us to add value gradually and create smooth gradations. I can also use the color picker to switch to a different brush color. Usually I'll use a dark color to draw the lay in and shadows. And I'll use white to create the highlights. The eraser for erasing will use the eraser tool. You can access it here on the left menu or by clicking E on your keyboard. Again, you can access the settings menu by clicking this icon in the upper left corner. Like the brush tool, you can choose different tips for your eraser, which will create different effects. Let's go under general brushes and pick the soft round tip. This will give you our eraser a very soft border by lowering the hardness to zero. Let's set the size to something small. And when will you raise? It will look like this. Now, if we increase the size, they erasing will look like this. If we lower the opacity of the eraser, it will make the erasing much more subtle. Now we can erase much more slowly and gradually build up to what we want. If you want, you're erasing to have a sharper edge, you can increase the hardness. Now, the erasing will look much more defined. My favorite way to use an eraser is to lower the hardness to zero, increase the size to really big, and decrease the opacity. Okay, now I can gradually fade out these patches to create a smooth gradation. We can also use it over the top of other erasing. And we can use it over the hatch lines to make them more subtle. Alright, and that's pretty much all you need to follow along with the lessons using digital drawing. 3. Materials (For Traditional Artists): Even though the drawing demonstrations in this course, we'll be done digitally, all the concepts and techniques still applies for traditional pencil and paper. If you'd like to follow along using traditional tools. Here's my recommendations. For the tone paper. I recommend these Strathmore 400 series. This paper has a relatively smooth surface, which makes it work well with a wide variety of mediums. But feel free to use any brand or type of tone paper you like. In order to create our lane and shadows, we'll be using a dark pencil. For this, I recommend a simple graphite pencil. The brand doesn't really matter. So use whatever one you like. In the course, you'll hear me mention lowering the opacity of my digital brush in order to make lighter marks. To get the same effect with a traditional pencil, you simply just need to lighten the pressure on the pencil. One trick that can make this easier is instead of holding the pencil close to the tip, you move your hand further back. This will put less pressure on the tip as you draw. Another option that can make drawing lighter marks easier is switching to a harder pencil. Graphite pencils comes in different hardness. On one hand of the extreme, you might have a nine h, which means that the LED is really, really hard and will make extremely light marks. Right in the middle would be HB. And on the other end, you might have a nine B, which has a really, really soft lead that will make really dark marks very easily. Although you can buy pencil sets, that will give you the whole range of hardness, you really don't need that many pencils. You can pretty much do everything with just the HB pencil and varying the pressure you put on it. Now, if you're using an HB pencil and having trouble keeping your marks light, you can switch to an H or two H. Switching to a harder lead combined with keeping a light pressure should be more than enough to get the job done. If you want it to make things darker, you can apply more pressure or switch to a b or two b. Another thing you might see me do in the course is increasing the size of my brush in order to shade a large area. To accomplish this with a traditional pencil, you can simply shade using the side of the pencil. This allows you to make very broad strokes and cover a large area with an even tone. If you need help smoothing out the tone, you can blend it using a blending stump, a tissue paper or Q-tip, or even your finger. And of course, if you prefer, you can use any other drawing tool like charcoal, color, pencil, etc. Since we're using the tone paper drawing method, we'll also need a white pencil to create the highlights. For this, I recommend the General's white charcoal pencil, but any other pencil that can make a white mark will do just fine for erasing. I recommend a kneaded eraser because it allows you to raise more gradually the chorus. You might see me using the digital eraser to gradually fade out the edge of the drawing. To accomplish this with the traditional eraser, just shape the eraser into a ball and tap it against the shading to gradually lighten it. You could also lightly brush the eraser against the paper. And if necessary, you can smooth things out with a little blending. But of course, the best way to create a smooth gradation is to lighten the pressure on your pencil gradually so that you don't have to use an eraser in the first place. Okay, That's all the traditional tools you'll need to follow along with this course. Again, you absolutely do not have to get these exact tools. Feel free to use any materials that you have available to you as long as they get the job done. 4. Nose Structure Explained: The biggest problems began his face when drawing the nose is that they don't understand the structure of it. So they end up just trying to copy the outline and what they see in the reference. And this often result in a very flat and cartoonish drawing. In this course, we're going to take a constructive approach to drawing the nose. You're going to learn how to break the nose down into simple forms and then gradually layer on details until you have a three-dimensional knows. The biggest benefit of this approach is that not only will allow you to draw realistic noses from reference, but once you understand how noses I constructed, you'll be asked to draw them from your imagination as well. So let's take a look at the first layer of detail, or what I call the simplified nodes. In its most basic form, the nose is really just a triangular wedge sticking out of the face. But once you add a little bit more detail, the form starts to morph into something like this. It's still pretty much a wedge form just with a few subtle changes. So let's go over the parts and see why they look the way they do. The actual nodes can be broken up into three major parts. The bridge, the tip, and the wings of the nostrils. The bridge is the hardest part of the nodes. And this is usually the part that's broken when you have a broken nose. The tip is the part of the nose that sticks out from the face the most. The tip is also sometimes called the ball of the nose because this area has a slightly rounded form. You might hear me use the word ball and tip interchangeably. And the wings and the last row is the part that widens when you flare your nostrils. It's also the area that you pinch when you're trying to block out a bad smell. The simplified nose has three major planes. The front plane, side plane, and bottom plane. The front plane is made up of the front plane of the bridge and tip of the nose. The side plane contains the side of the bridge tip and wings of the nostrils. It helps to show how the nose gradually slopes down and connects to the face. And the bottom plane consists of the bottom of the tip and wings. The bottom plane is divided into two parts by this vertical center line. That helps us to distinguish between the left and right nostril and can make it easier to draw the nose and perspective. Lastly, we have this trapezoid or keystone shape called the glabella. It sits above the nose bridge between the eyebrows. The glabella is a very useful landmark because it connects the nose with the eyes. When drawing the nose, I usually like to start there first. Okay, so that's all the information you need to know for now. We'll dive deeper into the anatomy later, but for now, just get familiar with the basic parts. And in a future lesson, we'll learn how to draw this simplified nose step-by-step. 5. Simplified Nose Drawing: Alright, so now let's draw the simplified nose step-by-step. We'll start with the standard front view. I'll begin by drawing in the keystone shape of the glabella. The top edge will be slightly longer, the bottom edge will be shorter, and then we'll just connect the sides. Now, one of the hardest thing about drawing the front view is keeping everything symmetrical. So to help us do that, we can draw in a vertical center line straight down the middle of the glabella. This will help us to keep everything centered and symmetrical. Next we'll draw in the nose bridge and tip. Now the bridge will be narrower towards the top and then gradually widens as it approaches to tip. And once again, we can draw a horizontal guideline to make sure that things are even on both sides. And then the lines will turn and come to a point like so. Notice how the glabella, nose bridge and tip together basically looks like a neck tie. Next we'll draw in the bottom plane of the nose. Again, we can draw this horizontal guideline to make sure that both sides are even. Notice how the corner of this bottom plane looks kinda like the letter M. So that's one good way to remember how to draw it. Now, there's a short central line that separates the bottom plane into two parts. And then we'll just connect the corners to close it out. Lastly, we just need to draw in the side planes. The top edge will curve like this and then come down to connect to the bottom corner. Now, the reason the top edge is curved that way is because we're leaving space for the eye socket. And notice that the bottom edge is curved in the opposite direction. So the top edge is curved one way and the bottom edge is curved the other way. Now just do the same for the other side. Again, we'll put in a guideline to keep both sides symmetrical. And that's it for the front view. Now, before we draw in the other views, I'll draw in these guidelines and make sure that all the major landmarks line up. This way. You can see how the nose changes as we see it from different angles. Okay, now let's draw in the three-quarter view. Again, we'll start with the glabella. Since the nose is turned away, the gold bellow will be slightly foreshortened. In this case, it just means that it will appear slightly narrower and the size will be slightly more vertical. Once again, we can draw in a center line to help guide us. But this time instead of the center line dividing the glabella evenly in half, it's actually shifted to the left. This is because since the nose is turned to the left, that side is now further away from us and we'll see less of it. While the right side will be closer to us and we'll see more of it. Again. The bridge will gradually widens as it approached the tip and then comes to a point. Once again, notice that the point of the tip has been shifted to the left. And we're able to see more of the right side and less of the left side. Of course, if the nose was turned to the right instead, the perspective was shift in that direction. So in that case, we would see more of the left side and less of the right side. Okay? Now we can draw in the bottom plane. From this view, we can see that the bottom plane angles in to show that the nose is protruding from the face. From this angle, the bottom plane will appear wider than compared to the front view. And lastly, we'll just close out the side plane. Notice that in the three-quarter view, we're only able to see one side of the bottom plane and not the other side. Okay, now let's draw in the side view. Again, we'll start with the glabella. From this angle though, it will appear as a simple straight line. Now there's some variation in the way the glabella till some people, it will tilt forward with the front plane facing downwards slightly. And others it will tilt back with the front plane facing upward slightly. In this case, we'll keep it simple and just have the front plane of the glabella facing straight ahead. Now, the nose bridge will angle out from the glabella. The bridge and typical nodes does curve slightly. So even from this angle, we'll see a bit of it peeking through. Next, we'll draw in the bottom plane. From the side view, we can really see how the nose is protruding from the face. And lastly, we'll close out the side plane. Okay, so that's it for this simplified nose. Go ahead and practice drawing these diagrams yourself. And in future lessons, we'll see how we can develop the simple form into a fully realistic knows. 6. Nose Anatomy Explained: Now that you understand how to draw the simplified nose, we can layer on some anatomical details to make it look even more realistic. But of course, in order to do that, we need to understand some basic notes anatomy. So let's go over that. When we peel back the skin, we can see that the nose is made up of four main parts. The nasal bone, the lateral cartilage, the greater lack cartilage, and the wings and the natural the nasal bone is this part here. And that forms the top half of the nose bridge. Next to the nasal bone is a much larger bone called the maxilla. This bone helps to create the side planes of the nose and allows it to transition smoothly to the rest of the skull. The maxilla is a pretty large bone, but with regards to the nose, we only care about this small portion that sits next to the nasal bone. Attached to the nasal bone is the lateral cartilage. The lateral cartilage forms the lower half of the nose bridge. How the lateral cartilage connects to the nasal bone can have a big impact on the look of the nodes. In some people, the connection between these two parts is very seamless and smooth. And others, there will be a slight angle change where the lateral cartilage connects with the nasal bone. Further down the nose is the greater Alar cartilage, which forms the ball or tip of the nose. The greater Alar cartilage is actually made of two separate pieces. And we can see the separation between them running down the center of the nodes. In some people, this separation will be very visible even through the skin. Also, notice how the cartilage curls up as it connects to the face. This is a very important detail when we're drawing the bottom portion. Lastly, we have the wings of the nostrils. The wings actually made up of fatty tissues and you might hear them referred to as all our fat. Again, notice how the wings crow up as it attaches to the face. The wings together with the greater Alar cartilage, forms the openings of the nostril. Okay, now that you understand the basic anatomy, we're ready to see how all this information translate into an actual nose drawing. 7. Anatomical Rhythms Drawing: One of the best ways to inject anatomy into your drawings is with the use of rhythm lines in music, or rhythm describes the relationship between two or more musical notes. In drawing a rhythm line describes the relationship between two or more visual elements. It's basically a shorthand that helps artists remember complex information. So let's see how we can add anatomical rhythms to this simplify nose to make it even more realistic. We'll start by drawing in the separation between the nasal bone and lateral cartilage. Proportion wise, this line will be one-third of the way down the front plane of the nose. This isn't a hard rule because proportion can vary widely between individuals. But it can be a very helpful guide when you're starting out. Notice how this line is slightly curved to show that the bridge of the nose is rounded and protrudes forward slightly. This line will continue down the side plane to show how the side of the nose gradually slopes down towards the face. And we can draw this horizontal guideline to make sure that the other side is symmetrical. Next, we'll sketch in the front portion of the lateral cartilage. Cartilage will taper n and come to a point at about two-thirds the way down the front plane. Again, this is just a rough estimate. Notice how the bridge of the nose is. Why does at the point where the nasal bone and lateral cartilage meet? This is an important detail to keep in mind when drawing the bridge. Now, we'll draw in the greater ally cartilage will start with the center line that separates the two pieces of the cartilage. The top edge of the cartilage will angle upward until it hits the corner of the bridge and then curve downward to connect to the side. And we'll do the same for the other side. Again, we can use a guideline to keep things even. The top edge of the ally cartilage will look a bit like the top edge of a heart shape. Next we'll draw in the separation between the greatest ally cartilage and the wings of the natural. The line were angle in towards the center of the nose and then turn the corner to connect to the bottom plate, making the angle change coincide with the guideline just for convenience. But that's not a hard rule or anything. Where you place this line and how you draw it will affect how big the winds appear. And that can vary a lot with different knows types. I recommend you play around with the placement of this line to see how it affects the look of the nose. And lastly, we'll sketch in the openings of the National. I'll start by drawing the top edge of the nostril. Notice how this top edge is broken up into three line segments. And they essentially mirror the edges of the bottom plane. So this segment roughly matches this edge. This middle segment roughly matches this edge. This segment roughly matches this outer edge. So basically we're just drawing a smaller version of the surrounding edges with a little variation so that it looks more organic. With the bottom portion, we're just doing the same thing, except there's going to be this notch that goes up into the nostril. And that notch is basically to illustrate how the wings and Alar cartilage hooks up as they attached to the face. And I'll redraw the bottom edge to make that even more clear. That notch and the bottom is probably the most important detail that you need to remember. One trick is to notice that the opening looks similar to a bean shape or a quotation mark. Okay, now we can do the same for the other side. The bottom and center portion of the nose, we'll have a slightly pointed appearance. And that's it for the front view. As you can see, just by adding a few simple rhythm lines onto the simplified nose, we're able to quickly create a pretty realistic knows. Okay, now let's draw in three-quarter view. I'll go ahead and draw in these horizontal guidelines and make sure that all the major elements line up. Again, we'll start with the separation between the nasal bone and lateral cartilage. And we'll continue that line down the side of the nose. Next we'll draw in the front portion of the lateral cartilage. Then we'll sketch in the greater Alar cartilage. The far side will be slightly foreshortened. So we're only going to see a little bit of it peeking through. The ball of the nose has a slightly rounded form. So our curve the center line out slightly in order to show that. Now we can draw in the separation between the Alar cartilage and natural. Lastly, we'll draw in the openings of the nostril. Again, we're just following the contour of the edges of the bottom plane. And then adding a notch at the bottom to show how the Alar cartilage and wings curl up towards the face. And I'll redraw the bottom edge to make that even more clear. And I felt like this tip is looking a little weird, so I'll just fix it real quick. Don't be afraid to erase and adjust your drawing until it looks right to you. This process of trying different things is actually how you develop your sense of proportion. They're much better. Alright, now let's catch in the side view. From this angle, we won't be able to see much of the front plane. And the line going down the side of the nose will look more straight than kurt will only see a little bit of the front of the lateral cartilage peeking through. Next are curved the tip of the nose, the show, it's rounded form. And then we'll draw in the top edge of the greater Alar cartilage. Next we'll separate the wings from the Alar cartilage. And lastly, we'll sketch in the openings of the nostril. Again, notice how the bottom of the nose curl up and n. Okay, so that's how you draw the anatomical rhythms. Go ahead and practice these yourself, and I'll see you in the next lesson. 8. Nose Planes Drawing: So far, learning the simplified nose and anatomical rhythms has allowed us to draw a pretty realistic nodes. But in order to shade the nose well, we have to understand is planes. So let's see how we can make some slight changes to this drawing in order to fully flush it out with the planes. I'll reduce the opacity of the current layer. And then draw on a separate layer on top of that. If you're working with traditional pencil and paper, you can simply lighten your drawing with the eraser and then draw over the top of that. Will start by redrawing the glabella. That will curve the bottom edge lightly to show that the bridge is slightly rounded. The bridge of the nose will be widest where the nasal bone meets the lateral cartilage. And then it will taper into a point. Next we'll add a small side plane to the bridge of the nose. Really helps us show that the bridge has a slight thickness to it and helps it to pop forward from the face more. We can see this thickness in the nasal bone and lateral cartilage in the anatomical diagram as well. We can add a side plane to the glabella region as well. Again, this helps to give it more thickness and depth. Next we'll draw in the tip of the nose. It will be slightly angular and interlocks with the tip of the bridge like cell. At the bottom. Instead of coming to a point, it will have a flat edge going across like cell. Then we'll draw in some smaller points under this tip. This will help to show how the nose begins to turn in towards the face. Together these two planes look a little like an hourglass shape from the front view. And let's not forget the separation between the two pieces of the greater ally cartilage. Next, we'll change this edge of the bottom plane from a smooth curve into three short line segments. The first line will go down slightly and then come across and then back down again. So this edge has a bit of a stair-step pattern. Then the line will angle in towards the center and curl up. Basically, we're just taking these rhythm lines and turning them into line segments. Now let's do the same for the other side. Do your best to keep everything is symmetrical as possible. Next, we'll redraw this separation between the tip of the nose and wings. Notice how this line contacts right where there's an angle change in the lower edge. Now, we will show that the wings actually has a front plane with these lines. And then we'll show the side plane of the wings, which will only be able to see a little bit of from this front view. Do the same for the other side, show the front plane. And then the side plane. Now we can close out the tip of the nose with this edge. This plane helps to show how the tip is a rounded form and has a side plane to it. And I'll just redraw the nostrils so that it's more centered within the bottom plane. Lastly, we'll draw in the side plane of the bridge. We're just going to divide up the side plane so that instead of being a smooth curve towards the face, it has several definitive angle changes. Now, I just want to mention that this is just one way to design the planes of the nose. There are many other ways out there. And once you're comfortable with this version, I would encourage you to study other versions that you can find on the Internet. I recommend looking up nose plane on either Google or pinterest.com. You can even try designing your own version of the planes. This will help you to understand the structure of the nose a lot better. Okay, Now let's turn off the under drawing so we can see these planes better. Now to show the form of the nose better, we can draw a cross contour line that goes along the tip. The line would angle up and then goes across the front and the wings. And then it will climb up the side of the tip. Now as it goes across the tip, it will curve slightly because the tip has a rounded form. And then it would climb down the other side, across the wings and then down again. If you're having a hard time drawing cross contour lines, just try to imagine there's an ant crawling and a straight line across the form. The cross contour line is basically just the trail that this N will leave behind as the cross, cross, cross contour exercise is a great way to deepen your understanding of a form. Okay, so that's it for the front view. Now let's draw in the three-quarter view. Again, we'll lighten the under drawing and re-establish the glabella with the bottom edge slightly curved. Now we'll redraw the nose bridge and add in a small side plane to show its thickness. And we'll add some thickness to the glabella as well. Next, our chisel out the shape of the tip and slice off a tiny portion of the bottom end. Remember the tip is slightly rounded, so will occur the center line out. And we can draw the center line along the bridge as well to show that there's a slight angle change where the nasal bone meets the lateral cartilage. Next we'll add in the center plane at the bottom of the nose. From this angle, we can really see how these planes show the nose curling up into the face. Next we'll break up the edge of the bottom plane into segments. And now in the line goes across and then back down again. Here the wings will curl in towards the center. Then we'll draw in the outline of the wings. And this line will separate the front plane of the wings from the side plane. So here's the side plane. And then we turn the corner into the front plane. Next we'll close out the tip of the nose and connect it to the wings. And I'll just redraw the nostril and re-center it slightly. And lastly, we'll break up the side of the nose into smaller plane changes. Again, if we were to draw a cross contour line across this nose, it would go up the side plane of the wings, then across the front plane, and then up the side of the tip. And then it would curve as it goes across the front plane. Let me just add a center line to the front view as well just to keep things consistent. Okay, now let's draw in the side view. We'll start with the glabella. The bridge of the nose will angle out along the nasal bone and then angle in slightly along the lateral cartilage. So from this view, we can really see that there's a slight angle change where the nasal bone meets the lateral cartilage. And here's the side plane to show the thickness of the nose bridge. We can also see a thickness to the glabella from here as well. Next we'll draw in the tip of the nose. From here, we can only see a little bit of the front plane, but we can definitely see the tip curving outward slightly. Now we can show how the nose Crow in towards the face. Notice how there are three distinct line segments to show that turn. Next we'll break up the edge of the bottom plane into line segments. Establish the shape of the wings, and separate the side plane from the front plane. Notice how from this angle we can see much more of the side planes of the wings as compared to the front view. Now close out the nose tip. The side plane of the tip appears quite large. From this angle. Redraw the nostril and chisel out the side planes. Now let's turn off the under drawing and see what we have. Again, the cross contour line will travel up the side, across the wings and then up the tip again. And we would only see a little bit of it as a cross the front plane. Okay, So that's it for the planes of the nodes. Go ahead and try this exercise for yourself, and I'll see you in the next lesson. 9. Front View Nose (Tracing): Now that you understand the structure of the nodes, we're going to see how to apply that information to actual noses by tracing over these photo reference. This will give you a chance to see how to modify the rhythms and planes to match different knows types. Okay, let's start with this front view. To begin, I'll reduce the opacity of the reference. And I'll go ahead and lock it so we don't accidentally draw on it. Then I'll create a new layer on top of it. Let's call this layer simplified nose. And we'll draw on this layer to create the tracing. If you're using traditional pencil and paper, you could simply print out the reference and trace on top of it. Okay, I'll begin by establishing the glabella. Glabella usually sits at the top of the nose bridge between the eyebrows. But other than that, we don't really have a super obvious landmark that tells us where the glabella should be. So to some extent we do have to guess at it. But that's okay. We don't have to be perfectly precise. The job, the glabella is to act as a home base from which we can build the rest of the nodes. As long as we're in the general ballpark, it should do his job. Next, I'll draw in the front plane of the nose bridge. The front plane will widened towards the tip and then turn the corner to come to a point. Then I'll draw in the center line that divides the bottom plane into two parts. Next, I'll draw in the edge of the bottom plane. His natural is curling quite a bit. So I have to change the shape of this edge in order to match the reference. Then we'll do the same for the other side. Lastly, I'll draw in the side plane. His nose is quite wide towards the bottom, so the xy plane has to angle out quite a bit in order to connect to the bottom plane. Okay, So that's it for the simplified nose. Let's turn off the reference and see what that looks like. So as you can see with just a few simple line, we're able to capture the basic structure of these nodes. If I was drawing this nose myself, this is what I would visualize on top of the reference. And then I would draw this on my drawing paper. And it will give me a very good scaffolding on which to build the rest of the details. Now we have to do is add in the rhythm lines to make this a little bit more realistic. I'll start by drawing in the connection between the nasal bone and lateral cartilage. Again, we'll have to guess at where this is because it's not super obvious on his nose. Next we'll draw in the lateral cartilage. This one is a little bit more obvious. In fact, on his nose we can actually see the area where the lateral cartilage connects with the tip of the nose and the separation between the left and right Ally cartilage at the tip of the nose is pretty obvious here as well. So we'll add in that line to depict it. Then we'll draw in the heart-shaped rhythm lines that connect the tip of the nose with the wings of the nostrils. Then I'll draw in the opening of the National. Lastly, I'll draw in the separation between the wings of the natural and the tip of the nose. Here has nationals are more of a bell-shaped. So I'm going to deviate from the standard model and make this separation angle out slightly in order to match his nose type. Alright, so that's our rhythm line. Now let's turn off the reference to see what that looks like. Okay, it looks pretty good. Okay, so now that we have all this information filled in, we can lighten these and draw in the plains. So I'll go ahead and lower the opacity for this layer and then lock it as well. Then I'll put a new layer on top and let's call this one nose plane. Okay, again, I'll start by re-establishing the glabella. Next, I'll draw in the nasal bone and lateral cartilage. Then we'll add some thickness to the lateral cartilage and nasal bone. Then we'll add some thickness to the glabella as well. Then our design, the shape of the front plane of the nose tip. Then we'll draw in the bottom plane as they turn and connect to the face. Now, I'll change this edge of the bottom plane into smaller line segments. And I'll make sure to show how the national curls up as the connects to the face. And we'll just redraw in the opening of the National. Next, I'll put in the side plane of the tip of the nose. And then we'll close out the shape of the wings of the nostrils. And then lastly, I'll draw in the side planes of the bridge. The side plane is pretty clear on his nose. So it's pretty easy to know how we should design them. And even though the left side of the nose is in shadow, and we can't see it as clearly. We can simply copy the information that we establish on the right side over to the left. And it also helps to make the nose look more symmetrical, which is always a good thing. Also with the xy plane is I'm deviating from the standard model that I'm not putting in the vertical plane breaks. I could, but I didn't feel like it was necessary here because the side of his bridge was pretty smooth. So again, that's something that's discretionary and you can definitely adopt the standard model to fit the person that you're drawing. Okay, so that's the nose point. Let's turn off the reference and see what that looks like. I just want to point out that this is not the only way to break down the nose into planes. There are many, many different ways to do it. And in fact, if I were to do this nose again, I would probably come up with something slightly different each time. The shape of the planes might be slightly different. There might be more or less of them, but the overall structure of the nose will still be the same. So I encourage you to copy and study from the examples in this course. But feel free to experiment with your own designs as well. Once you get good at these tracing exercises, you'll find that you can look at a nose and break it down into its structural components in your mind. Which of course will help you tremendously when you're drawing and shading it. So go ahead and give this exercise a try, and I'll see you in the next lesson. 10. Front View Nose (Lay In): So now you understand how to break down the structure of the nose. We're ready to start drawing them. We'll start with this front view. I'll start by sketching in the simplified nose. Since we already done a tracing analysis of us knows we can simply use that for our reference. If I was drawing this normally, I would simply visualize the simplified nose in my mind rather than drawing it onto the reference. And that's something you'll be able to do as well with more practice. But until then you can always do a tracing of your reference first in order to become familiar with the details before you start your drawing. And as you can see, the process I'm going through is exactly the same as what we did in the tracing exercise. The only difference is that now I'm taking more care to ensure that the proportions and placement are as accurate as possible. Because the simple structure will serve as the frame for the rest of our drawing. And I use these horizontal guidelines to make sure that both sides lines up properly. Next, we'll sketch in the side planes of the bridge and do the same for the other side. Next, we'll draw in the rhythm lines to fill out more of the details. Again, this process is exactly the same as the tracing exercise. In fact, we can use the finished tracings from that lesson as our reference. Draw in the heart-shaped rhythm lines that connects the ball of the nose with the nostrils and put in the openings of the nostril. Once that's finished, we can lighten everything and draw a more refined laying on top of it. If you're working digitally, this simply means lowering the opacity of your layers. And if you're working traditionally, you can use a kneaded eraser to gently erase the lines and make them lighter. Then I'll add in a new layer on top. Let's call this one lane. Now I can look back and forth at the reference and carefully sketch in the details. Because I have this light under drawing to guide me. I don't have to worry as much about the proportions and can focus more on capturing these small details. Here, we can sketch in a little bit of the eye area just to give the drawing in some contexts. As I'm doing this, I'm using the plane of motion that we established in the tracing exercise. Although I'm not going to just copy over the planes like we did with the simplified nose and rhythm lines. Instead, I'm using the planes where I think it's appropriate. While at the same time mixing in details that I see in the reference. If we do this nose using just the planes, it can end up looking really stiff and robotic. So we want to use some planes to give the drug structure, but also incorporate the organic details that we see in the reference as well. Now, we can fill in the details around the nose bridge. The side of his bridge is pretty defined and there's a small plane with a noticeable value change. So I'll sketch that in here. The left side of the cast shadow, a soft edge. So I'm using these parallel hatching lines to simulate that. The cache shadow plays a major part in giving the drawing dimension. So I usually like to exaggerate a little by making it slightly bigger than shown in the reference. Next, I'll draw in the separation between the light side of the nose and the dark side. This can be a bit tricky because unlike the cast shadow, the form shadow is not as obvious, but just do your best to design the shadow shapes. Here's where knowing the nose plane can be really helpful because the separation between the light and shadow usually coincide with plain changes in the notes. Also, notice how I'm using light parallel hatching lines to create these soft edges. Because the nose is a rounded form, the separation between light and shadow will be very soft and fuzzy. I'll use an eraser to lighten some of the lines on the lit side so that it doesn't overpower the shading when we put it in. Okay, so that's it for the land. Notice how by simply separating the light and shadow using soft edges, the node is already looking very three-dimensional. You want your land to already look convincing and realistic before you move on to the shading phase, the lanes, the foundation. And if that foundation is not solid, the shading is not going to go very well. So take some time to examine your lane and see if there's any proportional errors that needs fixing, then we can proceed to the shading. 11. Front View Nose (Shading): To start, I'll create a new layer on top of the lane and call it base tone. I like to work on separate layers because that allows me to make changes to the drawing more easily. But you can just draw on a single layer if you want to. And of course, if you're working traditionally, then you don't have to worry about all these layers business. Next, I'll lower the opacity of my brush and make the brush size a lot bigger. And we're just going to fill in the shadow side of the drawing with an even light base tone. As you can see, by making the brush size bigger, we're able to fill in this area much more quickly. If you're working traditionally, you just use the side of your pencil to shade more broadly and use less pressure to create a lighter tone. If you're having trouble maintaining a light pressure, you can just switch to a harder pencil, like a to H, which will help keep your marks very light. Once the base tone is set, we can add in the hatching. I'll create a new layer and call it hatching. Then I'll return the brush opacity and size back to normal. I'll start by putting in dark hatch lines in the opening of the nostrils just to fill them in. Next, I'll fill in the cache shadow under the nose. I'm going in this diagonal direction because I feel like that flows with the shape of the shadow of the bus. Well, you can play around with other directions as well. The most important thing is to keep the spacing between the lines consistent. Next, we'll fill in the plane of the nozzle. Notice how I'm changing the direction of the lines. As I go around the nostril, I find that this has a nice flow to it and it makes the hatch lines look like they're curling into the nostril. For this middle plane, I'll have the lines going horizontally across. So the basic idea here is that we're using these hash lines to not only fill in the shadow areas, but also to distinguish between the planes, the nose, and describe the form. For these upper plains, the lines will go across the wings and then climb up the sides. Then across the ball, the nose. You might recall that this is exactly like the cross contour line that we drew across the nodes in the planes lesson. These hash lines we're drawing are basically just dialyze cross contour lines. That helps describe the form. For the bridge of the nose are have these lines climb up the size of the bridge. And then they'll slope down towards the face like cell. Knowing how to design these hash lines can be really hard because there are so many possibilities. And as you can see, I will test out different designs. And if I don't like it, I'll just erase it and try again. As you do this more and more, you develop a sense for what will look good. You can also study the works of other artists whose crosshatching style you like. I like to go on pinterest.com and collect a bunch of cross hatching drawings that I like and then copy them as study exercises. Then I'll try to incorporate that style into my own drawing. Okay, now that we've filled in the main shadow areas, we can move on into the half tone. So I'll start by continuing the hash lines that were climbing up the side of the bridge. And have them curl over and across the front plane of the bridge. This will help to convey the roundness of the bridge. We want to keep the hatch lines in this area more subtle. So you'll want to keep a light pressure with your pencil. If you're having trouble doing that, you can always reduce the opacity of your brush. If you're working traditionally, you can switch to a harder lead pencil or like a to H. Then I'll go back over portions of these lines to make them darker. The idea is to accentuate the core shadow that separates the light and the dark. Next I'll add some very light hatch lines along the bright side of the nose. Again, since this side is hit by the light, we want to keep our hash lines extremely subtle. But we do want to use the hash lines to convey that this portion of the nose is protruding out from the face. Okay. So that should do it for this round of hatching. Next, I'll put in the highlights. I'll create a new layer and call it highlight. I'll keep the brush opacity at around 50 per cent because I want the highlights to be more subtle. And I'll switch the brush color to white. If you're working traditionally, you can simply switch to a white charcoal pencil or some other white pencil. Let's start with the obvious highlight at the tip of the nose. And there's a more subtle highlight on the left side as well. Since his greater ally cartilage is separated into two parts, the peak on each side is being hit by the light more, creating these highlights. And because the light is coming from the right, the right side of the nose has a more intense highlight. As you can see, as soon as we put in these highlights, the tip of the nose immediately looks more rounded. Next there's a another highlight on the side of the wings where a second light source is hitting the face. I'll add a much more subtle highlight on this side as well. Now, add some highlight to the right side of the bridge. Notice how even with the highlights, I'm still using cross contouring hatch lines to help describe the form of the nose. The hash lines are following the same patterns as the shadow side, except we're just using a white pencil instead. I'm also going to go over these lines a second time to darken the portion of the bridge that's protruding out the most. And I'll also add just a few light lines going in the vertical direction just to give the corner of the bridge a little bit more definition. Next, we'll put in some highlights around the nose. This area is getting a lot of light, so it's quite bright. Here. As I'm designing these hash lines, I tried to keep some principles in mind. For one, I tried to vary up the length of the lines. Don't make all the lines the same length because that will look boring. But don't just randomly vary up the length because that will look chaotic. Instead, have a pattern to how the length changes. E.g. if I start out with a long line, then I'll make the next line slightly shorter so that all the lines gradually tapers to a point. And if I start out with a short line, I'll make the next one slightly longer and so forth. That way your design will seem intentional. Also, I tried to vary up the direction of the lines and the shape that they form. E.g. if I have a triangular patch of horizontal lines, then next to it, I'll try to put a rectangular patch of diagonal lines to mix things up. Think of these patches of lines as puzzle piece and you're trying to fit them together in a way that looks interesting. Okay, so that's pretty much all the elements of this drawing. The nose looks pretty realistic. And honestly we can just start right here if we wanted to. Now, if we wanted to bring it to a higher level of finish, it's just a matter of repeating the process we went through and refining the details. So I'll go back to the base tone layer, switch the brush color back to blue and increase the brush size. And our work on the halftone area to create a smoother transition between the light and the shadow. I'll also add some value to the shadow side to increase the contrast. This will help to make the light side appear more brilliant and give the drawing a more dramatic effect. As you can see, the more tonal value I add in the subtler the hash lines become. That's a balanced that you can play with the, you want your drawing to be more tonal and realistic. In which case you would make the tones darker? Or do you want the drawing to be more linear and stylize? In which case you would keep the tone slider so that the hatch lines could shine through. Also, let's work on the halftone area in the light side as well. Again, the goal here is to just smooth out the transition between light and dark. The hatch lines are helping to describe the forearm and add energy to the drawing. And the tonal shading is helping to smooth out the transitions and make the drawing more realistic. There's a little bit of subtle Halftone that goes down the center of the tip to create the separation between the ally cartilages. So we'll put that in as well. Be careful not to overdo this part. Okay, Next I'll go back to the hatching layers and add in more subtle hatched lines. I'll add some curving hatch lines along the edge of the shadow at the tip. This helps to better define the core shadow and also stylize the drawing a bit. Next are also emphasized the core shadow along the bottom plane of the wings with the short hatch lines. You'll notice that emphasizing core shadows will be a repeating theme. And my drawing, I find that this is a really easy way to make a drawing more realistic and dynamic. Next, I'm going to switch to a soft edge eraser. Our lower the opacity way down. And I'll make the size really big. If you're working traditionally, you can just use a kneaded eraser for this. And I'm going to just go around the drawing and lighten the edges so that everything gradually fades out. This helps to create a vignette effect that makes the drawing look more attractive. If you're working digitally on multiple layers, you might have to click back and forth between the layers to make sure that you erase across all of them, which can be a bit of a hassle. So that is one benefit to just working on a single layer or a drawing traditionally. But overall, I still find that the benefit of working on multiple layers outweighs the con. We can also use the eraser to lightly knocked back any areas that we feel is too intense. So I'll use it on the highlights in the bridge of the nose to make them more subtle and gradually fade out. Lastly, I'll just add some finishing touches to the highlight areas around the edge of the nose. I'll make the area closest to the nose slightly brighter in order to emphasize how the tongue gradually fades out as we get further away. So that's it for our front view knows. To recap. We started by lightly sketching in the simplified nose and rhythm lines, which serve as the foundation for a more detailed land. Then we add in a layer of base tone to separate the light and shadow. After that, we add in the hash lines to further describe the form and stylize the drawing. Lastly, we add in the highlights to describe the light side of the nose. Okay, so go ahead and try this exercise for yourself, and I'll see you in the next lesson. 12. Side View Nose (Tracing): Okay, so here we have a side view. Let's start by establishing the basic structure of the nose. So the first thing I wanna do is notice that there is a slight angle going between the left and right eyebrow. The left eyebrow slightly higher, and it slopes downward slightly to the right. The reason that is is because we're looking slightly up at this nose and so that's causing it to appear in perspective. The line going across the brow is converging downward towards our eye level. So as I established the glabella, I'm going to make sure that the top edge of glabella follows that same angle and so does the bottom edge. Now, I'll close the side of the glabella. Next we'll draw in the front plane of the nose. Now, even though this nose is mostly in the side view, It's not a perfect side view. So we can still see a little bit of the front plane of the bridge peeking through. The front plane will be at its widest point, right about there. And then it will turn the corner and come to a point. Next, I'll draw in the division, the center line that separates the left and right side of the bottom plane. Then we'll draw in the edge that separates the bottom plane from the rest of the nodes. And then just close out that bottom edge. You're all in the far side of the nose as well. Okay? And then lastly, I'll just draw in the xy plane. Okay? So that's it for the simplified nodes. If we were to turn off the reference dose, what it will look like. So as you can see with just a few simple lines, were able to get a pretty realistic read of the nose. And if I was drawing this nose, I, this is what I would visualize on top of my reference. And it's what I would draw on my drawing paper. And it would give me a very good foundation on which to build all the rest of the details. Okay, so now the next step is to add in the anatomical rhythms to make this nose a little bit more realistic. I'll start with connection between the nasal bone and lateral cartilage. Now, there's no obvious connection on her nose. It's very seamless. So we're just going to take a guess and that's okay. We don't need to be perfectly exactly as long as we get it in the rough ballpark. And actually, the line that's going across the bridge is a little bit to horizontal. I'm going to erase it and redraw it and make sure that it follows the same angle as the top and bottom edge of the glabella. So any lines that goes across the face or the nose has to follow that same angle. Okay, so now I'll draw in the lateral cartilage, the front portion of the lateral cartilage. Alright, and now the line that separates the left and right Ally cartilage. And next we'll put in the rhythm lines that goes from the ally cartilage to the wings of the nostrils. Now we'll separate out the winds from the rest of the nose. Like so. And then lastly, I'll just draw in the opening of the nostril. Okay, so now let's turn off the reference and see what that looks like. Cool, it looks pretty good. Okay, So now the next step is we're going to lighten these lines and draw the planes of the nose on top of it. I'll start by establishing the glabella again. Except this time I'll add a little bit of thickness to it. Then we'll do the same thing for the lateral cartilage and nasal bone. And some thickness to there. Now for the tip of the nose. Now I'll draw in the bottom planes, like so. Okay, and now let's break up the edge of this bottom plane into smaller line segments. Draw in the side plane of the tip of the nose. Now we'll close out the wings of the nostrils. And then I'll put in this side plane to the wings. Notice how I'm putting this plane break right, where there's a value change in the nostrils. So this plane of the wings is lighter and this plane is darker. And right where that value change happen is where I put the plane break. And that's a good general rule of thumb. Whenever there is a value change, that's usually an indication of a plane change. Because as the form turns, whichever side is turning away from the light is going to get darker, right? We'll draw in the nostril organ, opening up nausea. And lastly, we'll just put in the side planes. Okay, so now let's turn off the other layers and see what the planes look like. Okay, go ahead and try it for yourself, and I'll see you in the next lesson. 13. Side View Nose (Lay In): Alright, now let's draw the side view. Once again, I'll start by sketching in the simplified nose. Feel free to use the tracing exercise as a reference. Or if you'd like to challenge yourself, you can try visualizing it in your mind. In this case, the nose is seen slightly in perspective, so we have to pay close attention to the angles of the lines going across the nodes. E.g. the top edge of the glabella is sloping downward towards the right. That same angle has to be maintained for the rest of the nodes, including the lower edge of the glabella and the bottom edge of the nostrils. I actually made a mistake in the tracing by making the right corner of the chip higher than the left. Now the angle at the tip of the nose is at odds with the other angles, causing the perspective to look incorrect. But I'll fix that mistake in the drawing itself. Okay, now we can add in the anatomical rhythms. There's the separation between the nasal bone and lateral cartilage. Adding the center line that separates the greater Alar cartilage. Draw in the heart-shaped rhythm lines. Separate the winds from the nose and draw in the opening of the natural. Next, we'll lighten everything and begin a more detailed land. I'm going to exaggerate the outline of the bridge by giving it a slight bump at the connection between the nasal bone and lateral cartilage. And then I'll add another bump at the tip of the nose. I find that this makes for a more interesting silhouette than just a smooth nose bridge. As I'm drawing, I'm looking for places to incorporate the plane information to give the drawing some structure. But with female noses, we do have to be careful not to overdo it with the planes because it can make the nose look more masculine. In general, female features will be more soft and subtle, and males will be more angular. So we have to keep that in mind as we make our designs. Notice how I'm keeping the soft edge light and diffuse by using a bunch of tightly grouped parallel hatch lines. While the hard edges are darker and crisper. This is really important to helping the drawing read three-dimensionally. I'll go ahead and draw a portion of the mouth to give the nose some contexts. And we definitely don't want to forget about the cast shadow. I'll draw in a little bit of the eye area to close out at the top of the drawing. Once again, before moving on to the shading, we want to look over the drawing to see if there's anything that needs fixing. I feel like the mouth is a bit short, so our extended out a bit. 14. Side View Nose (Shading): All right, To begin the shading, I'm going to increase my brush size and reduce the opacity. Then I'll fill in the shadow area with an even layer of base tone. Do your best to keep this layer of tone as smooth as possible. If it's too scratchy and chaotic, it can distract from the hatching that we're going to layer on top. While we're at it are also darken the opening of the nostrils and other crevices where less light would be able to get in. But I'll be sure to let these darker areas transitions smoothly into the lighter shadows. Okay, now we're ready to add the hatch lines. I'll start with the cast shadow. I'll have the hatch lines radiate out from under the nodes and follow the curve of the cast shadow. For the wings, the hash lines will wrap around this plane like so. For the bottom planes, the lines will wrap across the form. So a general rule is whenever there's a plane change, I'll change the direction of the hash lines. This helps to keep the different planes separate from each other and give the drawing more dimension. Next, we'll add hatch lines to the half tone areas. Make sure to keep your strokes here lighter to differentiate it from the shadow areas. For this patch here, I'll have the lines going up to match the angle of the nose bridge. For the glabella, I'll have the lines climb up the side and then across the front plane to show the rounded form of this area. There's lots of different ways to design these hatch lines. As one of the reason why I like hatching so much. You can have a lot of fun experimenting with different looks. Then we'll fill in the eyebrow a bit. For the lips are basically use vertical hash lines, but with a little bit of a curve to show the roundness of the lips. I'm essentially replicating the subtle crack lines that naturally appear on the lips. Sometimes the best cost contour lines are the ones that already appear on your subject. We just have to incorporate them into our drawing. The corner of the lips are darker, so I'll also add some lines radiating out from the corner to increase the value. Also go back over some areas in the nose to darken them. I'm not making any new lines here, just darkening the ones that are already there. This helps to give the hash lines some variation in values, which make the drawing more interesting. I'll add some curving hatch lines around the tip to emphasize it's rounded form. And also to accentuate the core shadow there. Okay, now let's add in the highlights. I'll switch the brush color to white, and I'll start with the brightest highlight at the tip of the nose. Adding the highlights is always my favorite part is we really get to see the drawing come to life. The bridge will again use curving line to show it's rounded form. Then I'll darken the corner of the bridge to make it stand out from the rest. I'll also add a few lines going along the bridge to accentuate the corner even more. Let's brighten up the edges of these highlights a bit. Next, I'll add some tone to the side of the bridge, but we'll keep them really light and subtle. Now, let's add some highlights to the area around the lips. I'll just have the lines follow the curve of the upper lip like so. And I'll add a little bit of accent to the philtrum area. Lastly, there's a thin highlight at the edge of the glabella as well. Okay, now that all the pieces are in place, we can get a good idea of how the drawings look and what adjustments we need to make to bring it to a higher finish. To start, I'll add a few hash lines to the halftone area to make the transition between light and shadow smoother. Next, I'll add some loose hatch lines to the areas around the nose and lips. The main purpose of these lines is to allow the drawing to gradually fade out. Later. I can use an eraser to lighten these lines and make them fade even more smoothly. Then I'll darken the eyebrow area a bit. Again. I'm still thinking about letting the drawing gradually fade out. Now, I'll make my brush size really big and reduce the opacity and refine the base tone. I'll go along the edge of the shadow to smooth out the transition between light and dark. And I'll also further darken the shadow areas of the nose and lips. Lastly, I'll switch to a soft edge eraser and make the size really big. And I'll go around the edge of the drawing to create a gradual fade out. While I'm at it. I'll also knock back some of the highlight areas to make them more subtle. Okay, We're pretty much done. But looking at the nose, I noticed that the tip is a little bit flat. So I'm going to extend it out a bit. It's never too late to make a correction. Now since the tip is extended out, I'll go ahead and extend this highlight area as well. Alright, that's it for the drawing. Go ahead and try it out for yourself. 15. 3/4 View Nose (Tracing): Okay, So here's a three-quarter view of the notes. Let's start by tracing in the simplified nose. I'll start with the glabella. I'll put the top edge right around where the eyebrows are. Again, this is just a rough estimate. Next we'll draw in the bridge of the nose. The widest point will be right near the bottom of this highlight. And then I'll angle in towards the center. I'll put it in the center line that divides the bottom plane. Notice how this line angles in towards the face. Next, we'll draw the edge of the bottom plane. That's a pretty noticeable stair-stepping that happens from the tip of the nose to the wings are lateral. So I'll try to capture that even in this simplified and tracing. And we'll do the same for the other side. Obviously, this side is going to look quite a bit different because of the foreshortening. Then we'll connect them to the center. And lastly, we just have to draw in the side of the nodes. Okay, that's a simplified nose. Now we can add on the anatomical rhythms. I'll start by roughly locating the connection between the nasal bone and lateral cartilage. And we'll continue that line down the side of the nose. Now, draw in the lateral cartilage. And then put in the center line that divides the greater Alar cartilage. Make sure to have this line curve out slightly to show the roundness of the tip. And then we can continue this line into the heart-shaped rhythm that contacts the wings of the nose. We'll do the same for the other side. But again, this side is quite a bit foreshortened, so we're only going to see a tiny bit of it. Then I'll trace in the opening of the National. The opening on the far side is going to be quite a bit smaller. Now, the most important thing to notice about the three-quarter view is the fact that the tip of the nose overlaps the far side natural. And this is actually one of the most common mistake that beginners make when drawing the nose from this angle is that they fail to capture the overlapping lines. Show that the tip of the nose is in front of the far side wing. So I'm gonna go ahead and draw in the edge of the tip of that nose. And you can see how that line overlaps the lines of the opening on the last row as well as the wing. And that's what's going to convey to the viewer that the tip of the nose is in front and the far side wing is in the back. Alright, so next we can lighten everything and draw the planes on top of it. I'll start by retracing the glabella. Then we'll do the bridge of the nose. Next, I'll add in some thickness to the bridge. And we'll add thickness to the glabella as well. Okay, now let's design the shape of the tip of the nose. So I'll begin with the bottom edge of the tip. Since here is easiest to see where the plane break is. There's light up on top and the shadow in the bottom right where the light meets the shadow is a good indication of a plane change. So I'm just going to put a line across there. And then we'll just follow the edge of the shadow to find the other side of the shape. Once it gets into the lighter, it gets a little bit more subtle. But I'm seeing a sagittal plane change going like this towards the bridge. Okay, Next we can draw it in the bottom planes of the nose. Be sure to have these planes incrementally curl in towards the face. Then I'll break up the other edge of this bottom plane. The tip of his nose is protruding out quite a bit compared to the wings. There's going to be quite as steep angle going from the tip towards the beginning of the wings. And then add the wings, the line is going to go across and then down again towards the face. And from there it's going to curl in towards the center. Now let's do the far side wing. Here. I'm mostly just tracing the outline of the reference, but I'm breaking that curve up into smaller line segment to give it more of a geometric look. Next, we'll draw in the outline of the wings. The separation between the wings and the tip on his nose is slightly different from the standard model, where it goes down first and then angles inward. So that's an interesting characteristic that I do want to capture because it's what make his nose a little bit more unique. And we can see this little bit of a shadow towards the edge of the wings, which as you know, usually indicate a plane change. So I'll put in a little plain break right there. Now the side of the bulb is nows is sloping down pretty gradually. So I'm actually going to put in two separate plane breaks to create a smoother transition as it slopes down, rather than just having one big plane going straight down towards the nostril. And I'll just trace in the openings of the National Real quick. Lastly, we're going to draw in the side planes. Here. I'm actually going to extend the planes pass the simplified tracing. The reference, you can really see where the nose begin to protrude out from the face. And that's where I'm going to put the plane break. And since the side plane of his nose is pretty big, I can put in the vertical plane break to detail it further. Okay, So now let's turn off the reference and see what that looks like. Alright, so that's the plane tracing. Go ahead and try this exercise for yourself. 16. 3/4 View Nose (Lay In): Okay, so now let's draw those nodes. I'll start by drawing in the simplified nose. Since the top edge of his glabella is putting in line with the eyebrow. I'll go ahead and establish a straight line for the eyebrow and glabella. And then from there we can draw in the glabella. And next we can draw in the bridge of the nose. Next we can draw in the plane. One of the advantage of starting out with the simplified nose is that we can really focus on the proportion and makes sure that everything is correct. Because we don't have a lot of details in this initial drawing, we can see proportional error a little bit more easily. So I noticed that the left side of the nose is a little bit too wide. And I'll go ahead and correct that. Okay, now we can draw in the xy-plane. Alright, so now let's put it into rhythm lines. There's the division between the nasal bone and lateral cartilage. Now I'm drawing the lateral cartilage itself. Here's the center line going down the middle of the tip. Will extend that line into the heart-shaped rhythm. Next, I'll draw in the opening of the natural. For the far side. Now shrill, I'll be sure to draw in this edge of the tip of the nose in order to show that overlapping lines. And then against that edge we can draw the opening of the Far Side natural. Lastly, I'll draw in the separation between the tip and the wings of the natural. Alright, so now let's lighten everything and draw the laying on top of it. So usually with the three-quarter view, I like to start with the silhouette of the nose. I like to exaggerate the silhouette. So I'll add a little bump at the bridge and I'll have the ball protrude out more. Notice how I'm drawing mostly with straight line segments, with just a few curves to round out the corners. In real life, the nose contains a lot of curve, but rather than copying those curves exactly, simplifying them into line segments. This helps give your drawing more structure and it forces you to think more about how you want to design your lines and shapes. Beginners tend to over rely on copying the curves in the reference. They think that if they could just copy the reference precisely enough, the drawing will look good. And sometimes that works out, but most of the time it just result in uninteresting drawings that lacks structure. So I want to encourage you to start drawing more with straight and less curves. There's one concept was a huge help to me when I first applied it. Once you become more experienced, you can adjust these straight to curve ratio to suit your tastes. But in the beginning is good to practice using more streets. Alright, next, I'll establish the edge of the shadow that runs along the bottom plane. And then I'll put it into this little line break here to establish the middle of the bottom plane. Then let's draw in the opening of the National. Alright, so now let's draw in the wings of the nostrils. Okay, now let's draw in the bridge of the nose. Here I'm going to rely on the plane information quite a bit to inject some structure into this area. Normally the bridge is quite hard to draw because everything is so subtle. But because we know the plane information, we can take some liberty and add in details that may not be all that clear in the reference. Make sure to keep your marks here really light, because again, this area is very solid on the reference, so we don't want to overpower with a lot of hard edges. And I'll sketch in the side plane. Again. I'll try to keep this area really subtle. I'll keep my lines really light and my marks really soft and diffused. Next we'll sketch in the cast shadow, rather than trying to match the curve of that cache shadow exactly as it appears in the reference. I'm going to simplify it into a few straight line segments. And I'll also add in the philtrum area under the nose as well. This cast shadow is actually a great opportunity to use it as a cross contour line. So as the shadow go into the divid of the philtrum, I'm going to curve the shadow in order to show that changing surface of the face. And once we get past the surface of the philtrum, the shadow will curve back the other way. Next, I'll draw in the eyebrow to give the drawing some contexts. And looking at the drawing, I feel like the tip of the nose and the far side wing needs to be extended out a bit. So I'll go ahead and make that correction. I think that philtrum and cast shadow needs to be extended downward as well. Again, if there's any correction that needs to be made now, the best time to do it. So don't be shy. Then I'll just add a little bit of shadow mapping to the wings and tip of the nose. Okay, and that's it for the land. 17. 3/4 View Nose (Shading): Now before I begin the shading process, I'm going to take the eraser and lightly knocked back the lit area around the bridge and tip. Since this is where the light is hitting, we don't want a bunch of dark lines in this area competing with the highlights. Next, I'll increase my brush size and lower the opacity and add an even layer base tone in the shadow areas. I also darken the occlusion shadows in the opening of the National and right under the wings. Since less light is able to get into these crevices, they're going to be darker than the rest of the shadows. Alright, next we can apply the hatch lines. I'll switch my brush back to 100% opacity and lower the brush size to whatever I was drawing with. For the cast shadow, I'll be sure to have the hatchling curve when it gets to the divid of the philtrum. That way we can tell the viewer that this area is different from the surrounding. The size of your brush or pencil can be really important when creating these hash lines. So if you think that your hatch line is looking off, try adjusting the size to see if it helps. I find that if my brush size is too small, the hatch lines will be too thin and I end up having to make a lot of them to fill in an area which gives it a different look than if my brush size was bigger, creating thicker hatch lines. For the nose. I'm still sticking to the rule of whenever there's a plane change, there's going to be a change in direction of the hatch lines. And I'll add some quick hatching to the eye area as well. Next we can add the hatch lines to the subtler halftone areas. Let's add some light hash lines to the wings to create a smoother transition between light and shadow. For this, I'll lower my brush opacity to around 50%, just so I can keep my marks later. Of course you don't have to do this. You could just keep your pressure really light, but lowering the opacity can make this a lot easier. Alright, Next I'll have the hash line climb up the side of the bridge. Then I'll have them curve over the front plane of the bridge just a little bit to show that that corner is rounded. Now, on the other end, I'll have the line slope down the side of the nose. This part can be pretty tricky and requires quite a bit of dexterity. So take your time with it. One of the reasons why having a larger brush size can help when hatching is that you don't have to make as many lines to fill up an area. Having to make less lines mean that there's less opportunities for you to make a mistake. Alright, so now let's add in the highlights and see what that looks like. Alright, I'll put some highlight on the front plane of the bridge. I'll keep my brush opacity at around 50 per cent because I want the highlight to be more subtle. And I'll switch the brush color to white. I want there to be a smooth transition between the dark hatch lines and the highlights. And right now I feel like they're a little bit too close together. So I'm actually going to take my eraser and lightly erase the edge of the dark hatch lines a little bit to make more rooms for the highlight. For the tip of the nose, I will try to design the highlight into an interesting shape. And I'll add some highlights around the cast shadow as well. Again, here we can have a little fun and add some flourishes to the lines. Next, let's add some highlight to this portion of the face. Since we're getting close to the edge of the drawing, I'm going to keep these marks light so we can begin to have everything fade out. Next, I'll go back into the hatch layer and reinforce some of these lines. And my goal is one to accentuate the core shadow and make it a little bit more prominent. And to, to add some variation to the hash lines. We don't want all our hash lines to be the same value because that will look boring. So by making some areas darker than others, it creates more interests and our drawing. And I'll further darken the cast shadow area that's closest to the nose. Next, let's darken the nostrils or more because we definitely want this area to be the darkest in the drawing. Okay, now let's go into the halftone area and again, just increase the value of some of these hash lines to create some variation. Of course, you don't wanna do this randomly. Look at the reference and see what areas needs to be darker. So the two main areas I'm seeing is the patch of value right above the rhinoceros and the area at the side of the nose and near the eye socket. When I darken an area of hatch lines, I tried to avoid cross hatching over the existing lines. In other words, I have the new lines going in the general same direction as the old lines. This helps to preserve the flow and energy of the hash lines. When you cross hatch over an area too many times, it can flatten out that area and you lose the cross contouring benefits of your hatching. Crosshatching. Is it wrong? And I still use that a times even in this very drawing, but I tried to use it sparingly. Next, I'll switch to a large eraser and decrease the opacity. And we'll just lighten the edge of the drawing to make everything gradually fade out. Now let's do the same to some of the highlight areas. Lastly, let's go back to the base tone layer, switch our brush color back to blue, reduce the brush opacity, and add in some subtle half tone to create a smoother transition between light and shadow. This should help to smooth everything out and make the drawing up here a little bit more realistic. It can be pretty easy to overdo the half tone. So take it slow. Put a little bit of tone down, then step back and look at your drawing to see if you like it. Then add more as needed. Next, let's darken the eyebrow area and the eye socket as well. We want these eyebrows to be a lot darker. So I'll switch back to the regular full opacity brush and add in a bunch of hair-like strokes. Try to mix up the direction of the strokes to give it an organic hair texture. And lastly, I want the highlight at the tip of the nose to be the brightest spot in the drawing. So just go back over it one more time. Okay, and that's it for our nose. 18. Up Angle Nose (Tracing): Okay, so here we have a nose in three-quarter view with an extreme upshot. The first thing we wanna do is establish the angle of the eyebrow. This is really, really important for drawing noses in perspective. The lines that are going across the face will be tilting a certain angle and we want to make sure we capture that. And the place that's easiest to see that too is at the brow line because there's an obvious line going across to eyebrow. Once we have that line establish, I'll draw in the rest of the glabella. Notice how the glabella is quite a bit foreshortened from this angle. Now since that brow line is so important, I'll go ahead and find it in the rest of the nose as well. So the tip of the nose, we'll have the same angle as well as the two corners of the wings. Now, the reason the lines are tilted that way is because since we're looking up with the nose, our eye level must be somewhere below it. And if you've been through my perspective course, you know that as the line that are going across the nose recede away from us, they will converge towards a vanishing point at the eye level. Since this nose is turned to the left, the lines going across the nose is moving away from us towards the laugh. That's why they all seem to be angling down towards the left. They're converging towards a vanishing point on that side. This nose was turned towards the right than the lines going across the nodes will be tilting down towards the right. Then we can connect the corners to fill out the rest of the nodes. Okay, so by keeping everything simple, we're able to establish the perspective quickly. Now that we have that, we can add in the smaller detail. So I'll add in that little pointy corner at the tip of the nose. Draw in the center line and connect it to the corners of the wings. Here we can see how the corners of the wings are much lower than the center of the nose, creating this slight curve. That's because the nose is a wrapping around the face. And so since we're looking up at it, we're able to see that curve. Now let's turn off the reference and see what that looks like. Okay, that looks pretty good. It definitely looks like a nose if viewed from below. Next, we'll draw in the rhythm lines. Since the bridge is for sure in all the details will be pretty congested in there. So drawing it can be a little bit tricky. The heart-shaped rhythm will be curving in quite severely to merge with the bottom plane. Since at this angle, the side plane of the wings will barely be visible to us. Then I'll draw in the opening of the National. It's pretty hard to see the opening given how dark it is, but I'll do my best to take a guess at it. Okay, now let's lighten everything and draw the planes on top of it. I'll start with the glabella. There's the lateral cartilage. Then we'll add some thickness to the lateral cartilage. And let's add some thickness to the glabella as well. Because of the foreshortening, everything is really congested. So I'll turn off the under drawing so that we can draw the planes a little bit easier. As I'm doing this, I have to make sure to keep the initial angle of the nose and mind. Again, that's the most important part about drawing nodes in perspective. As we're drawing can be easy to forget and let that angle is sort of level out. But we got to keep reminding ourselves to maintain that ankle. Then let's draw in the center of the bottom plane. From this angle, they appear quite a bit larger than normal. Now let's put it in the edge of the bottom plane and draw in the opening of the natural. Now, we'll draw in the little bit of the side plane of the nozzle that's peeking through. And then draw the side plane of the tip. Lastly, I'll draw in the side planes of the bridge. And the foreshortening can make the tip of the nose a little bit tricky to draw. So I'll keep readjusting it until I feel like I've gotten it right. Okay. That's it for our tracing. Go ahead and try this for yourself. 19. Up Angle Nose (Lay In): Alright, I'll start by drawing the simplified nose. Again, it's super important to establish that angle of the eyebrow. Then we'll draw in the glabella. Now let's find that same angle for the tip of the nose. And then we'll connect it to the glabella. Then we can draw in the bottom plane. Make sure to maintain that angle between the corners of the wings. Then we can close out the side planes. Okay, now that we have the perspective established, we can add in the smaller detail, like the little point at the tip of the nose. And we'll draw in the center line of the bottom plane. Now let's draw in the rhythm lines. There's the separation between the nasal bone and lateral cartilage. Notice how everything is really foreshortening crunched together. I'll draw in the heart-shaped rhythm that connects to the wings. And also since the nose is turned towards the left, all the details will be shifted slightly towards the left. That's because we're able to see the right side more and less of the left side. And then lastly, we'll draw in the opening of the National. Okay, so now let's lighten everything and draw the actual layer on top of it. I'll start by defining the silhouette of the nose. I'll make sure to capture the fact that the tip and center of the nose overlaps that farsighted natural. And make sure to show how the winds and the natural curl back in towards the face. Now, I'll sketch in the border of the bottom plane. And let's expand the opening of this natural a bit. I'll put it in a subtle line break here to show the thickness of that center portion of the nose. I always find that that's a tiny detail that makes a big difference in making the nose look three-dimensional. Now, let's draw in the little bit of the side plane of the wings that's visible from this angle. And then close it out with the side planes of the bridge. I'll also draw in the philtrum and a little bit of the upper lip. Notice how even the corner of the lips follow the same angle as the rest of the lines going across the nodes. And let's add in a little bit of the eye area as well. Okay, so now I'll use soft edges to map out the shadows. This is really going to help the nose look more organic and three-dimensional. Does actually not that many shadows on this nodes, which can make it harder to show off the form. So I wanted to take full advantage of any shadow that is there. Okay. And that's it for the land. Now we're ready for the shading. 20. Up Angle Nose (Shading): To begin the shading, I'll increase my brush size and lower the opacity, and I'll add an even layer base tone to the shadows. There's not a whole lot of shadow with this drawing, so it should go pretty quickly. I'll go ahead and add some extra tone to the opening of the National. I'll also use the base tone to darken some of the Halftone area as well. Okay, Now we can add in the hatching. Let's start with the opening of the National, which will be the darkest part of the drawing. I'll have the hatch lines along this bottom plane go across the nose. And then I use some subtle hash lines for the bottom planes of the wings. Now let's add some abstract pattern to the eye socket area. Okay, now we're ready to move on to the highlights. There are two bright highlights at the tip of the nose. And the light is also hitting the mouth area beneath the nose. The edge of the lips is catching little bit more light. As well as this little spot underneath the wings. There's a little bright spot near the top of this nose bridge. Then I'll add some sloping hatched lines to the bridge of the nose. I'll be sure to keep these line quite subtle. Okay, Now for the refining stage, I'll switch back to the dark pencil and add some accents to the shadow areas. Now also add some light hatching to the half-tones. Then I'll emphasize the edge of the shadow areas. Then I'll go back to the base tone layer, increase my brush size and lower my brush opacity to around 50%. Then I'll darken the shadow areas some more, as well as fill in the eye socket areas. Okay, now let's take our eraser, decrease the opacity to around 50% and increase the size. And we'll just go around the edge of the drawing and fade things out gradually. Also lighten some of the highlight areas as well. Then I'll just add some tiny dark accents here and there. And that should do it for this nose. Okay, go ahead and try this drawing for yourself. 21. Down Angle Nose (Tracing): Okay, so here we have a nose that is tilted down and it's also slightly in a three-quarter view. So now let's see how this nose will break down. I'll start by establishing the glabella. If we look at the brow line, we can see that it has a slightly down tilt towards the right. So we're going to want the top and bottom edge of the glabella to have that same angle as well. I also find the bottom of the bridge and make sure that it has the same angle two. Now we can find the corners to close out the bridge. And then once we have the perspective establish, I'll draw in that little pointy tip at the end of the bridge. And let's erase the extra line. Okay, now, I'll draw it in the central line of the bottom plane. Since there's nose is turned down, we're not going to see all of the bottom plane instead is going to get cut off. And so we're going to see a sharp edge at the very bottom. Next was fine, the top edge of the bottom plane. And you notice that since the nose is tilted down, this edge will have a slight upward tilt to it. Okay, so now let's draw in the side plane. Now the top edge of this side plane will normally sloped down in the standard view. But since the nose is tilted down, it's going to shift the perspective. And so that line is going to angle upward slightly. And the same principle will hold true for the glabella as well. Now I'll just do the same thing for the other side. We're barely going to be able to see the bottom plane peeking through on this right side. And there's the side plane. Alright, so now let's draw in the anatomical rhythms. There's a connection between the nasal bone and lateral cartilage. Here is that rhythm line slopes down the bridge, is going to wrap around the nose in a way that makes it look like it's curving upward. There's lateral cartilage and there's the center line. Alright, now we can draw in the heart-shaped rhythm line. Let's put it in the separation between the wings and the rest of the nodes. And then I'll just add a little bit of an edge to this top side of the glabella. Okay, so now let's lighten everything and draw the planes on top. I'll start by retracing the glabella. There's the nasal bone and lateral cartilage. Now let's give it some thickness. And I'll actually change the thickness of the glabella to make it line up with the nasal bone. Now let's draw in the tip of the nose. And the bottom plane will not going to be very visible. And so we're only going to see a little bit of a plane peeking through. Now let's chisel out the shape of the wings and then connect it to the ball of the nose. I'll add a little plain break to this side of the wing. Let's do the same for the other side. Because of the foreshortening, this side is going to look very compressed. And lastly, we'll just draw in the side of the bridge. For this, nodes are actually divide the side plane into smaller plane breaks in order to better show how that nose is sloping down towards the face and are actually change the thickness of the glabella one more time just to make it line up with that new line that we put in. And that's just a matter of taste. You can do whatever you think looks the best. This plane model is pretty flexible so you can change it to your liking. Okay, that's it for the plains of this nodes. Go ahead and try this for yourself. 22. Down Angle Nose (Lay In): Okay, to begin the drawing, our sketch in the simplified nose. But the brow line is tilting downward slightly towards the right. So make sure that the angles of the glabella and the nose matches that. I'll find that same angle for the end of the bridge, and then we'll connect it to the glabella. Now let's draw in the little tip and find the end of the tip of the nose. Okay, so now we can sketch in the bottom plane and close out the side. And let's do the same for the other side. Now let's draw in the anatomical rhythms. Notice how this rhythm line is curving up as is wrapping around the nose. That's a very important detail that we want to keep in mind as we're drawing this nose. Now let's catch in the heart-shaped rhythm line. Line was still look more or less the same as the standard view. And now we'll just separate out the wings. Okay, so there's our scaffolding. Now, let's lighten everything and then sketch the more refined nose on top of it. I'll start by finding the edge of the nose bridge. That's usually the best place to start, in my opinion, when drawing noses in the three-quarter view. And I'll find the outer contour of the bottom edge. Now let's find the other corner of the nose bridge as well as give it some thickness. Here I'm going to start using really soft parallel hash lines to suggest and the subtle soft edges of this area. Next I'll draw in this nostril and add a little soft plain break right about there. Let's sketch in the nasal labial line. I'll put a few angle breaks in the line to make it a little bit more interesting. So I'm definitely exaggerating these angle changes relative to the reference. And then we'll do the same for the other side. I'll add a hint of a cast shadow that's created by the thickness of that nasal labial line. And let's sketch in some of the AI area to give this nose a little bit of contexts. Now we normally do this anyway, but I find that with noses that are appearing in perspective is even more important to give it some contexts so that the viewer can make sense of what they're seeing. We're not gonna go into much details, withdrawn the eyes, but I do want to at least suggest the outline of the eye sockets there. Notice how I'm really keeping my edges very soft. That's the key to drawing these areas and keeping them more abstract. So with this nose, I'm taking a bit more of an intuitive approach and jumping around the drawing quite a bit, just adding little details here and there as I see fit. And that's really how I normally work when I'm not teaching. And in fact, that's how I would recommend you work as well. One should get more comfortable with the drawing process because it allows you to develop the nose more evenly and have a better feel of what is going to need. And we'll add in that little more. On the side of the bridge, the light is coming from the left-hand side. So the shadow will be mostly on the right side of the mole. Normally, I would advise you ignore those little texturing details and focus on the biggest structure. But since you're probably more comfortable with drawing the nose now, we can dive into those little details a little bit more. So now I'm just going to go around the nose and start doing some shadow mapping. Designing the shape of the shadows with soft edges to fill out the three-dimensionality some more. Here, I'm trying to design the edge of the dark core shadow that runs along the bridge. The edge of the shadow is a bit complex, so I'm just going to do my best to simplify it in a way that looks interesting and still retains the characteristic of the nose. I tried to leave little gaps here and there and also make some areas thicker and darker while the areas are thinner and lighter. And I think that's left now shows a little bit too wide, so I'll trim it down a bit. So the land is mostly pretty much done. I'm just examining all the little details to make sure that there's nothing major that I want to change. Now, even though I can't really see a clear cash-out on the reference, I'm going to cheat one in any way because I like how it makes the nose look. Okay, So now before moving onto the shading, I'm just going to lighten some of the lines on the lit side of the nose just so they don't compete with the highlights. Okay, so that's it for the land. Now we can move on to the shading. 23. Down Angle Nose (Shading): As usual, I'm going to begin the lane by adding in the base tone. So I'll increase my brush size and decrease the opacity and just cover all the shadow area with a light layer of town. The rest of the bridge is also in shadow, so we'll fill it in, but I'll keep the tone here slightly lighter just to differentiate it from the other shadow. And I'll let the tone gradually fade off as we get higher up in the glabella. Let's add a little bit of tone to the underside of the nose as well. That's going to help the nose pop out a little bit more because it suggests that less light is able to get into that area. Okay, now we're ready for the hatching. I'll just put a bunch of parallel hash lines along the front plane of the bridge. And then I'll have it sloped down the side plane. Let's fill in some of the eyebrow and also the eye socket area. Now let's fill in the shadow side of the nose. And the reference. We can't really see the details in this area very well. So we're just going to go along with that and keep our hatched lines loose and abstract. I'll change the direction of the hash lines periodically and wages the shapes together in a variety of ways. Okay, so now let's go into the lighter halftone area and add some hash lines in there as well. Let's fill in the shadow of this nasal labial line. And I'll continue those hatch line into the lighter side, but I'll have it changed direction so that it looks like it's curving around the forward of the skin. Alright, so now let's add in the highlights. I'll go along the corner of the bridge to soften out that corner a little bit. But also to make the form of the nose part forward more. Next we'll have these lines slope down towards the face, but make sure to have them angle upward slightly to match the perspective that we're going for. I want these white hatched lines to look like they're a continuation of the dark hatch lines that are running along the front plane of the bridge. And that's a pretty obvious highlight running along this edge of the eye socket. He has a slight crease between his eyebrow. So I'll put a little highlight right next to that line in order to emphasize it. Next, let's add some highlights to the area under the nose. And I add a little subtle highlight to this mall here. Okay, So now I'm gonna go back over some of these hash lines and reinforce them to make them stronger, to give this highlight areas some variation, I want to make the corner of the bridge stand out even more. So I'm gonna go back over that area one more time. Now, in the reference, we can see that there's actually a second light source coming from the right and it's creating a rim light along the bridge. So I'm going to take my eraser and remove the dark tone from that area. Then we can add in the rim light. I love room lights because they can make the drawing look a lot more dramatic and pop the forum forward quite nicely. Next, I would just ask them Abstract highlights around the edges of the drawing to allow it to gradually fade out. Okay, so now I'll switch back to the darker brush color and reinforce some of the hatch lines to give the shadows and variation. I'll go along the edge of this core shadow on the nose to accentuate it more. But be careful not to let these darker hash lines spill into the rim light. And you can see how that softening the transition between the darker shadow area and the lighter shadow, giving the bridge a subtle gradation effect. Let's reinforce some of the hash lines on the shadow side as well. And I'll make this cast shadow darker where it's closest to the nose. We want to create enough variation in the shadow area so that it doesn't just look like a flat plane. There's some details happening there, even if it's unclear and out-of-focus. Next are accentuate this core shadow along the nasal labial fold. And I'll use some crosshatching to add some texturing to the front plane of the bridge. Now, I'll just create some loose abstract patterns around the edges to let the drawing fade out gradually. He has a very small divot in his skin, which I think adds a little nice texture. So I'll add that little detail to the bridge. Next, let's go back to the highlight layer and accentuate some of these highlights even more. Let's really emphasize the corner of that bridge since it's receiving so much light from the left. And I actually put the highlight on the wrong side of this forehead wrinkles. So let's fix that. Since the main light is coming from the laugh, the highlights should be on the right side of the wrinkle. Next, I'll increase my brush size and lower the opacity and just refine the base tone layer. I'll darken the shadows and soften out the transition between light and dark. Okay, so now we can switch to the eraser tool and gradually fade out the edges. Remember to be really delicate and gradual with erasing, you can always erase more, but you can erase less. Also soften up some of the highlights in the lit area to make them more subtle. This will help to give the drawing even more line weight variation where some areas are really bright and some are more subtle. And then we'll just do one more round of refining where we really punch up some of the darker areas to give the drawing more contrast. How darken the eyebrow area? And I'll also darken some of the deepest shadow areas. All right, and that's it. We're all done. 24. Cartoon Nose (Lay In): Okay, Now that you understand how to draw the nose accurately from observation, let's see how we can manipulate the nose to create more stylized drawings. This is where we just throw likeness out the window and just exaggerate the proportions and see what kinda interesting notice we can come up with. For me, this is where drawing gets really fun because you get to be really creative. Okay, let's start with the simple side view. As always, I'm going to start by drawing the simplified nose. But this time instead of following the reference, I'm going to be changing things quite drastically are really, really exaggerate. The bump at the bridge of the nose and add quite a few angled changes are also position the wings of the nostrils quite a bit higher up relative to the tip. One good method for starting the stylized drawings is to pick a few areas and just exaggerate their proportion to an extreme level. So you can make them really big or really small, really long, or really short. In this case, I'm going to exaggerate the bridge, the tip and to a lesser extent the natural. And don't feel like you have to know exactly how your drawing will look before you make your first mark. I usually don't know how my drawing will turn out either. I just start drawing the simplified nose with a general idea of how I want to exaggerate it. And then I'll iterate on that and make changes as I go. Alright, now that we have the simplified nose and rhythm lines added in, let's lighten everything and draw a more refined nose on top of that. So here I'm playing around with different ways to design the curve of the bridge. And I also think the tip can be a little bit bigger just to push the exaggeration even more. Let's make the nostril a little bit bigger and higher up. One other thing that's so freeing about drawing like this is that you don't have to be a slave to the reference. You can make changes however you see fit. Let's draw in the eye area as well. As you can see. I'm deviating from the reference quite a bit. Ultimately, I'm trying to go for a very over-the-top, cartoony style, but with a hint of realism. Here, I'm adding in the crease of the nasal labial fold, or more commonly known as the last line. Now let's get rid of the construction lines so we can see our drawing a little bit better. I still feel like the bridge and tip can come out a little bit more. So I'll go ahead and make that adjustment. Next, we can chisel out the planes to give the nose more structure. This is where having the plane information memorized will be extremely helpful. So I highly recommend that you do a lot of practice drawing those plane diagrams from memory until you can comfortably recall them. And you can see how I'm playing around with different ways to design the planes to make it look more interesting. This process of trying out different ideas can really help you better understand the structure of the nodes. You can see how by simply changing where you place a line break, you can drastically alter the look of the nose. Now, I'll go around the perimeter of the shadows and soften out the edges. I'm using light parallel lines to make these areas broader and more diffuse. And you can see how the contrast between those softer edges and the harder edges give the nose more three-dimensionality. High. Once I'm relatively happy with the land, I'll begin the shading process. 25. Cartoon Nose (Shading): Let's start by putting in the light layer of base tone. Once again, I'll increase my brush size and lower the opacity to make it easier to create the base tone. In the reference. The light source is coming from the sun, which is higher up. So most of the shadow is under the nose and eye socket. One of the most difficult part about drawing a nose for imagination is the shading, especially if you're going for a realistic look. And that's where having a reference can be really helpful. So even though I didn't use the reference March during the lane except maybe to establish the general perspective during the shading, I'll be using it a lot more to help me know where to put the shadows and highlights, at least as something you can do until you gain more experience with shading from imagination. And I'm actually going to extend the shadow of the nasal labial fold in towards the tip of the nose more. I feel like this is going to make for a more interesting shape with the shadow mixing in with the highlights. Next, we can add in the hatching. Let's start with the opening of the National. Here, since this area is so dark, you can almost feel it in completely with tone. Next, I'll add the hatch lines to the under plane of the nozzle. And I'll change the direction of the hatch lines of the central plane just to differentiate it from the other areas. Next, let's shade in the cast shadow. Again, notice how I'm having the hash line go in a slightly different direction from the other areas. I'll have the hash line along the shadow of this fold emanate out from the natural. And then I'll just add some loose abstract patterns to the eye area. We don't want to bog down this area with a bunch of details. And because we don't want the viewer's attention to go there, we want the focal point to be at the nose and our darken in the eyebrow a bit to differentiate it from the eye socket. Okay, next, we can add hatching to the halftone areas. Be sure to keep the lines here quite a bit lighter than the shadows. So I'm just going to fill in the planes that sits between the shadow planes and the highlight planes. And already you can see how that Halftone really helps to make the nose a lot more three-dimensional. Okay, next let's add in the highlights. Most of the light is going to be hitting the planes that are along the front of the nose. I'll add some cross hatching along the outer edge to make the bridge pop out a bit. And this plane of the wing will be catching a lot more light as well. And there's gonna be a pretty strong highlight area next to this cast shadow. I'll try to design some interesting patterns and allow it to gradually fade out. Add a little bit highlight to the brow ridge area as well. And that's going to be a highlight along the nasal labial fold as well. I'm just going to keep it pretty simple and abstract. Again, we want to start thinking about how we want to let the drawing gradually fade out. And let's add a really bright highlight at the tip of the nose that can really help to make the nose pop. Okay, So all the pieces that are in place, now we just have to add some variations to make the drawing a little bit more interesting and realistic. So I'm just going to go back in and darken up certain areas of the hatching to give it more variation. I'm mostly focused on accentuating the core shadow area that separate the light and shadow. I'll darken some portion of the Halftone to give the sense that there's a subtle gradation. A gradation implies that although the form is smooth, it's not completely flat and the light is hitting some area more than others. And also add some darker line way to the bottom portion of the nose as well. This can really help to reinforce the lighting scheme where the light is coming from the top and the shadow is at the bottom. And every once in awhile I'm adding a few like crosshatching lines that goes across the main hash lines just helps to add some variation and interests to the shading. We want to do this sparingly though, so that we don't lose the direction of energy that's created by the first layer of hatching. Then let's repeat the same process for this area here. Now, I'll lower my brush opacity and increase the size and go back to the base tone layer and try to soften out the transition between the light and shadow. So I'm just going to create a smooth aggregation is I can go in from the shadows into the light. And I'm also going to use this opportunity to darken some of the recessed area. That isn't going to be getting a whole lot of light. Once we're done with that, I'll switch to the eraser tool and lower the opacity to around 50% or sell. And we're just going to go around the edge of the drawing, enlighten the edges so that the drawing can gradually fade out. I'll also use the eraser to knock back some of the highlight areas so that we can have some value variation in the highlight as well. I really love how fading out the edges gives the drawing this dreamy quality. And it really helps to frame the focal point of the drawing and bring the viewer's attention there. Besides adding in the highlights, this is probably my second favorite part of the drawing process. Once things are soften out a bit with the eraser, we'll come back in with a dark pencil and add some refining touches here and there. I'm not doing anything new here, just repeating the same process that we've already went through. I'm just being a little more subtle with everything and really looking at the drawing as a whole to see what it needs. I want to add some line weight variation along the bridge of his nose and make it look more interesting. So I'll use the eraser to fade the line where I think the light will be hitting it most strongly. And I said, We're all done. As you can see, even though we've exaggerated the proportion to a pretty extreme degree, because we have all the core elements of the nodes present. It still looks realistic and believable. Okay, for your assignment, I want you to follow along with this video and draw this knows exactly as you see it. Just so you know how the process of exaggeration works. Then I want you to find a reference of a nose inside view of your own choosing and draw a stylized version of it. You don't have to stylize it the same way I did here. You can do it your own way. Be as creative as you want. But be sure to include all the core elements like the bridge, the wings, the bottom plane, et cetera. Remember, if you get stuck for ideas, just pick one or two parts and make it really big or small. That'll be enough to give you a very unusual stylized nodes. The point of this exercise is to help you get used to taking the reference, manipulating it, and making it your own. Alright, so have fun with this exercise and see what you can come up with. 26. Caricature Nose (Lay In): Okay, so here we have a front view of the nose with a slight uptake. Now let's draw a stylized version of this. Except this time we're also going to incorporate a little bit of exaggerated perspective as well. So I'm going to make it look like we're looking up at this nose at an even more extreme angle than the reference. Start by drawing the glabella. Because we're looking up at this nose, I'm going to have the top and bottom edge of the glabella curved downward slightly. This is because the nose has a rounded form. And you can think of it like a cylinder. Whenever we look up at the cylinder, we're going to see a downward curve. And conversely, whenever we look down at a cylinder, will see an upward curve. Next, let's draw in the bridge of the nose. I'll draw a center line down the nose to help us keep everything symmetrical. Notice how the bridge is quite a bit shorter than our standard front view. That's because since we're looking up at the nose, the bridge will be foreshortened. And the more extreme the uptake is, the more foreshortened it is. Since I'm trying to exaggerate to perspective, I'm going to make the length of this bridge even shorter than what we see in the reference. I'm also going to make the bottom of this bread quite a bit wider than the top. Again, that helps to exaggerate the perspective because the bottom of the bridge is closer to the viewer and therefore will appear a lot larger than the top portion. Next, we'll draw in the bottom plane of the nose. Here we're really going to exaggerate the size and make this area a lot larger than it normally appears. That's because when we're looking up at the nose, we're pretty much seeing this bottom plane at a direct full-on angle. And so it doesn't appear for Shorten like it usually does. I'll draw more guidelines going across to help me keep everything lined up on both sides. Notice how the bottom edge of this plane has a very severe downward curve. Again, that's to reinforce the fact that we're looking up at the snows and it's wrapping around the face. Now we can draw in the side planes. Now let's add in the rhythm lines. Notice how the connection between the nasal bone and lateral cartilage is placed higher up in the nose. Since the top of the bridge is further from the viewer, everything there will appear smaller. So I'm making sure to stagger the details so that things get progressively larger as it gets lower on the bridge. Now let's add in the heart-shaped rhythm line. Here we're going to see a really severe angle change as that rhythm line really turns the corner in order to connect to the wings. Since we're really looking up at this node, we're not going to be able to see the side of the wings very much. Then I'll draw in the middle portion of the bottom plane. Notice how this area is way, way larger than the regular front view. Now the way I want to stylize this nose is to make the wings of the nostrils really long and flat. So I'm going to stretch out the shape of the opening quite a bit. And I'm actually going to shave down these heart-shaped rhythm lines a little bit more to emphasize the fact that we're now going to be able to see much of the side plane of the wings. And then I'll just separate the winds from the rest of the nodes. Okay, so this should give us a good idea of how to approach the perspective and also how we want to exaggerate this particular nodes. Now let's lighten everything and draw a more refined version on top of it. I'll start by retracing the glabella and bridge. Let's add some thickness to the bottom half of the bridge. The top half of the bridge will have some thickness as well. But from this angle we will only barely see it peeking through. And I'll add some thickness to the glabella as well. Here I decided to exaggerate the nose even more and draw the tip as if they were so large that it's covering up the bottom portion of the bridge. Overlapping form is a really great way to add a sense of depth and three-dimensionality to your drawing. And I'll go ahead and make the bottom plane even larger than the initial under drawing. Now, we can play with different ways to design the shape of these planes. Notice how the bottom plane and wings form this triangular shape. I'm really going to lean into that triangle and stretch the wings out really wide. And I'll try to play with the shape of the opening of the nozzle by bending the curves in different ways. Next, let's draw in the side of the bridge. Notice how the top portion of this area is quite a bit smaller than the bottom. Now I'll draw in the philtrum and a little bit of the mouth area to give the drawing some contexts. Normally the philtrum should appear foreshortened because we're looking up at this nose. But I'm going to make it a lot longer in order to give this nose a more whimsical appearance. Just be aware of that by making it longer. I'm implying that the philtrum is really, really long because even though it's for showing is still looks longer than a normal size philtrum. Let's add in the eye area as well. I'll play with curving the brow line to make it look a little bit more whimsical. Just to mix it up, I'll keep this area as simple and leave out the eyebrow. Notice how when we're looking up at the face, the brow looks like it's curving downward. Okay, so that's pretty much our nose. But before moving on to the shading, I want to make sure that I'm really happy with the design. So I'm gonna keep tinkering with the shape of the wings until I get the exaggeration that I'm looking for. I want to push the wings out wider to emphasize the triangular shape. And I also want to make it thinner in order to contrast it with the thick ball of the nose. And I just make some minor changes to the bridge and i area. Lastly, let's draw in the cast shadow. I'm going to look at the shadow and the reference and adapt it to my own nose. Notice how unlike the rest of the nose, I'm using a very light parallel hatching lines to create softer diffused edges. Our map out where the light would be hitting the bottom plane. Let's map in the shadows on the cheek carriers. Now, before moving on to the shading, I'm going to take an eraser, enlightened some of these lines in our lane, especially the area that's going to be hit by the light. We don't want a bunch of dark lines and these areas competing with the highlights. Okay, now we're ready to move on to the shading. 27. Caricature Nose (Shading): Our lower the opacity of my brush and increase the brush size and add in an even layer of base tone. Then we can add in the hatching. I'll start with the opening of the nozzle, which will be the darkest part of our drawing. Then I'll add hatching to the bottom of the wings. Notice how the hatching lines gradually change direction as I progress. This helps to keep things from looking boring and repetitive. For the center portion, I'll have the line going across down the middle. And then it will have a slight angle change on the side. For the cast shadow, the hatch lines will curve around the face and then curve upward at the philtrum. So the reason the lines at the philtrum are curving upward is because the form of the philtrum is concave. In other words, it's curving in towards the face, whereas the rest of the nose is curving out from the face, which is why those areas has a downward curve. Now let's fill in the shadows on the side of the nose. And I'll add some hatching to the right side of the bridge and eye socket area. Here I'm deviating from the reference of it because in the reference, it's lit on both side of the bridge. But I feel like adding shadow to one side is going to show off the form of the nose a lot better. So the lighting scheme we're going with here is that there's a strong light coming from the left, which will make the right side of the nose slightly darker than the left. And there's also another light source coming from above. Now let's switch our brush color to white and add in the highlights. The light is coming from the left, so it's going to be hitting these planes quite strongly. The ball of the nose will also be cashing a lot of light from the light source above. And the planes on the right side will also be catching light, but it should be quite a bit less than the left. So I use an eraser to fade out this portion. Okay, now let's add some highlight to the bridge. Let's lighten these dark lines even more. So we'll have room to draw the highlights. I'll have the highlight slope down the side of the nose. And there's another plane of the eye socket should be lit by the light source on the left. The side planes on the right will also be lit by the light source from above. And lastly, we'll put some highlights in the mouth area. Next I'll switch back to the dark color brush and add some variation to the hatch. Lines in the shadow are dark in the crevices since last slide will be able to get in there. And let's really dark in the opening of the nostrils. The area below the nostrils should be quite a bit darker since last slide is getting in there. So I'll reinforce the hatch lines in this area to make them darker. I'll also use some crosshatching to darken the edge of the core shadow in the bottom plane as well. And also accentuate the edges of the philtrum and cast shadows. Now, I'll lighten my brush opacity to around 50% and add the hatching for the half tone areas. I'll have the lines gently curve over the glabella to show the rounded form of this area. Let's design some abstract hatching pattern for this eye socket so that we can have this area gradually fade out. I'll do the same for the left side as well, but we'll keep this area lighter since the light is hitting here more strongly. Now, I'll switch my brush color back to white and add in some subtle highlights. I'll also use some crosshatching to put a highlight along the corner of this bridge. That area will be sticking out the most. So it's probably going to be catching a lot of light coming from the left. And let's add a bright highlight to the tip. I add some accents to the edges of these bottom plains who make them pop out a little bit more. And let's do the same for the edge of the mouth and the eye socket as well. Okay, now I'll switch back to the base tone layer, increase my brush size and lower the brush opacity and just darken some of the recessed areas and edge of the shadows. I'll also work the halftone area in order to smooth out the transition between light and shadow. Now for the front part, I'll switch to the eraser tool, decrease the opacity to around 50 per cent, and increase the eraser size. Then we'll just go around the edges and fade things out gradually. Now we can add some small finishing touches to the drawing as needed. Let's emphasize the core shadow along this bridge. And I'll darken some of the outlines of the planes to give the drawing more structure and also to create some line weight variation. And the edge of the shadow on the side of the nose is still looking a little bit harsh. So I will take my eraser and soften the edge a little bit more. They can fade out more gradually. And that's it. Well done. Now, your assignment is to follow this video and draw this node so you can see how the process work. And then pick a front view nose and draw your own stylized version of it. Okay, have fun with this exercise, and I'll see you in the next lesson. 28. Feminine Nose (Lay In): Okay, so now let's try drawing a nose completely from our imagination. As you're going to see, the process is really exactly the same as what we've been doing before. That's the beauty of this constructive approach that we've been using. It lends itself seamlessly to working from imagination. So once again, I'm just going to start with the simplified nose. Since we've been drawing a lot of over-the-top masculine noses. Let's swing back the other way and draw a really feminine, dainty nose. To achieve this, I'm going to curve the bridge of the nose quite severely the other way. So instead of having the bridge curve outward away from the face, I'm going to have a curve inward towards the phase, giving it almost a flat appearance. And rather than having the bridge widen as it get closer to the tip, I'm just going to keep it the same width throughout. Then. I'll just draw in the bottom plane and side plane like we always do. Okay, next we'll draw in the rhythm lines. The lateral cartilage will look the same as usual, except now it's just going to follow the curve of that nose bridge. And the heart-shaped rhythm will again follow the curve of the bridge rather than protruding outward. And I'll make the National quite slim for this particular node. Then we can draw in the opening of the nostril. Okay, now let's lighten everything and draw a more refined version. How retrace the bridge and add a slight little bump at the tip of the nose. I'll put it in a very subtle edge to divide the wings from the rest of the nose. Next, I'll add in the outer edge of the bottom plane. Now let's design the opening of the nostril. And we'll add a slight hint of the Far Side natural. I'll put it in a subtle delineation to show the center of the bottom plane. Now let's turn off the construction line so we can see everything better. Next, let's draw in the cache shadow. I'll imagine the light coming from the left, so the cast shadow will be appearing on the right. I'll try to keep the shadow more of a graphic shape. And that's pretty much all the details we are going to be adding to the snows. The thing about family and noses is that they're quite smooth. And so in order to make the nose look smooth, we actually want to leave out a lot of details and keep things simple. Because the more detail we'll add, the more it's going to texture the nose and make it look more rugged. As a minor adjustment, I'm just going to make the tips slightly larger in order to further exaggerate that C curve of the nose bridge. And that's it for the land. Now we're ready to move on to the shading. 29. Feminine Nose (Shading): Let's begin by adding in the base tone. So I'll lower my brush opacity and increase the size and fill in the shadow areas with a light smooth value. Do your best to imagine which planes the light would be hitting. The other planes that aren't receiving light should be in shadow. Now let's add in the hatching. I'll start with the cast shadow and just how the hatch lines that radiate out from the nose. One tip is to allow your hash lines to go past the edge of the shadow, which will help to keep your hatch lines shredder. And then you can use your eraser to clean up the spillover. Then let's fill in the opening of the nostril with a dark value. I'll put some subtle horizontal hash lines along the center of the bottom plane. And then let's fill in the Far Side natural. Then I'll apply some cross hatching along that edge to soften it out. Again, the name of the game here is to keep things settle. We don't want to overdo the shading because that can make the nose look a little bit more masculine. Then let's darken the portion of the cast shadow that is right under the nose. Okay, now we can add in the highlights. I'll start by defining the corner of the bridge on the lit side. As you can see, this immediately makes the nose look a lot more three-dimensional. Let's put in a bright highlight at the tip. And I'll add a lighter highlight on the wings. Next, I'll add some crosshatching to the highlight on the bridge just to soften it out a little bit. Then let's add some highlights next to the cast shadow. This will help to make the cast shadow look more dramatic. Lastly, I'll just add some very subtle highlights along the side of the bridge. Okay, so now that all the pieces are in place, we can just slowly refine the drawing. I'll switch back to the dark pencil and add some variations to the cast shadow and core shadow areas. Next, let's take the eraser and fade out the edges. Are lighten these highlights along the side of the bridge to make them more subtle. Let's fade out the cast shadow near the top of the nose as well. Then I'll add some tiny accents to the highlights to make them pop. And that's it, we're all done. So go ahead and try drawing this notes for yourself to see how the process works. And then try drawing your own nose from imagination. You can choose to draw a feminine looking nose or any other nodes type you like. And if you're having trouble drawing a nose from imagination, you can use a reference for inspiration. So have a reference available, but put it away and don't look at it as you're drawing. Then if you get stuck, you can look back at the reference to help you know what to do next. Okay, so have fun with this exercise. 30. Orc Nose (Lay In): Okay, so now we're going to venture into the realm of fantasy art and draw an aurochs nodes. So let's see how that process works. I'll begin by drawing in the eye structure that's going to surround the nose. Since this nose is going to look a little bit unusual, I want to give it some extra contacts so that the viewer can really tell that they're looking at an org snows. I'm going to draw the nose and eye as if we're looking slightly up at it. So the brow line, as well as any line that's going across the nose and eyes will have a slightly downward tilt towards the left. Then I'll draw in the simplified nose. Since this 4k is going to have a really thick and protruding brow ridge, the glabella will be angling in towards the face a little bit more severely than the normal standard noses. Also, the bridge of the nose will be very short. So that's one of the distinguishing characteristic of an orange knows that I've been able to notice is that the bridge is very short and the ball of the nose is very big. In comparison, you can see me drawing lines across the nodes in order to make sure that I maintain that perspective ankle. Okay, Now I'll draw it in the bottom plane. With this Noah's, the bottom plane will be really big. N 0 also stretch further down the face way more than the average human nose. The mouth and nose will look almost like an upside down pyramid. And I'll sketch in the eye socket as well. Now let's draw in the rhythm lines. Again, the nasal bone and lateral cartilage will be really short. And there won't really be a separation between the wings of the nostrils and the ball of the nose. Instead the wings and then bar will basically joined together as one piece. And I'll try to design an interesting shape for the opening of the nostril. Okay, now let's lighten everything and refine our design. I'll add in the center of the bottom plane, and I'll stretch the bottom plane even further down the face. Now let's draw in the wings of the National. I'll put a little plain break in the wings, but the wings and front plane of the ball will join together as one big plane has some thickness to the nose bridge. Now let's draw in the eyes. I'll try not to get too detailed with the eyes since this isn't the focus of this drawing. And also, if you haven't been through my eye drawing course yet, all this information might seem a little bit confusing. So for now, just copy what I'm doing. And if you'd like to learn more about drawing eyes in detail, you can check out my course on that. And I'll give him a pretty thick nasal labial fold to give the face some character. Let's imagine that the light is coming from above and also slightly to the right. So there'll be a cast shadow right underneath the nose. This eyebrow is a little bit too high up, so our adjusted our sketching some furrow wrinkles in his brow as well because Orcs usually have a slightly angry expression. I'll add a few wrinkles, shadow in the bridge of the nose to make it look like his nose is sort of scrunched up a little bit in a corral. And I just soften out some of the edges of the core shadows. I'll give him a little bit of a deep division at the center of the tip of his nose. And just for fun, let's add in some scarring to make them look more interesting. So he'll probably have a little battle scar on his nose. And maybe one more right around the eyes is if someone swiped a sword right over his eyes, and luckily he closed it in time, but it's still love her scar as kind of a classic one. And I'm actually going to use this car is a cross contour line to describe his face. Rather than just laying flat on its face, is curving in and out according to the topography of his face. So not only will the scar add a story to this character, it will help us to make the drawing more realistic as well. Okay, so that's it for the ln. 31. Orc Nose (Shading): Now let's start the shading process. Our increase my brush size and reduce the opacity and add a layer of base tone to all the shadow areas. Now, we'll put it in the hatching. I'll have them radiate around the opening of the natural. I really like how this accentuate the unique shape of this bottom plane area. And then let's fill in the natural. Now I'll try to put it in these horizontal hatch lines in a way that makes it look like is a continuation of the hash line on the neighboring plane. And then let's fill in the cast shadow. Here. I'll have the hash lines radiate out from the crease line to make it look like that nasal labial fold is really protruding out from the face so that we get a sense of its thickness. Now let's fill in the eyebrows. And I'll put it in some abstract hatch pattern for the eye area. We don't want this to be the focal point of the picture, so I'll try to keep it simpler and then fill in the scars to make it look like it's more sunken into the face. Now let's do the same for the other eye. Okay, Now let's put it in the highlights. I'll start with these cards. Since the light is coming from the right, there'll be a slight highlight along the left edge of the scar. So you can see how putting that slight highlight right next to the dark shading of the scar really makes it look like the dark areas sunken in and right next to it is a little bit of a rim that's sticking slightly up and catching more light. Okay, Now let's put the highlights on the front plane of the nose. Again, notice how the wings of the natural and the front plane of the ball, I pretty much one seamless area. I'll put some highlights on the lit side of the wrinkles. So the pattern for these wrinkles is basically bears or highlight, followed by a lighter half tone. And then at the very bottom where the crease of the wrinkle is going to be a sharp dark line. And I'll try to add some abstract highlights along the edges of the drawing. We don't have to be super precise here because we are going to fade it out anyway. I'll draw these white hatch lines as if the continuation of the dark hatch lines on the shadow side of this fault. And I'll add a subtle outline to contain that shape. And the area next to the cast shadow should be pretty bright as well. I tried to design some interesting patterns here. Now let's also imagine that there's a second light source coming from the left. And it's going to cast a rim light along the edge of this left side. Rim lights are really great way to show off the form and also add a dramatic effect to a drawing. Since I'm working digitally, I can draw the highlight right over the dark shading. But if you're working with traditional pencil and paper, you're going to have to erase that shadow a little bit in order to make room for the highlight. Alright, and you can see how just that little bit of rim light really makes the nose pop out a lot more. It's a great technique that's used a lot in comic books and illustrations. Next, I'll just go back over the highlight areas and accentuate some of the lines to make them brighter. Again, this just helps to add some line weight variation to the lit side and make the drawing look more interesting. And then I'll do the same thing with the darker hatched lines. I'll go along this bottom plane and just accentuate the edge. And you can see how it creates this really cool radiating pattern for the wings. Let's darken the opening of the National. Also darken the portion of the cast shadow that is right under the nose. Let's emphasize the edge of this bottom plane. Next, let's accentuate that little division right in the middle of the tip. Let's emphasize the core shadow along the nasal labial fold. Next, let's darken the eyebrow and i area. I'll make the eyebrow darker is towards the center and gradually lighten my strokes as I get closer to the sides. Let's also darken the crease lines of the wrinkles. Okay, now we can switch to the eraser tool, lower the opacity and increase the size and fade out the edges. Now I think I'm actually going to lighten the hash lines and bass tone in the eyes to make them pop a little bit more there, I think that looks a lot better. And then I'll just clean up some of the edges around the eyes. The eraser soft and nap a lot of the details. So we just wanted to put back in some hard edges so that it can contrast with the soft edges. Now I'll just go around the drawing and do little bit of refining here and there, just darkening certain areas as I see fit. The brow ridge on the far side is looking a little bit too big, so I'm going to bring in a little bit. Erase the extra portion. Let's add a little bright highlight right at the tip of the nose. And this portion of the eyebrows looking a little thick. So how thin it out a little. Let's add the rim light back to this far side of the face. Okay, and that's it. We're all done. Try drawing this nose for yourself and then try designing your own nose. It can be an orange or some other fantasy creature that you like. You don't have to make it as complex as this one. And if you're having trouble, feel free to use references for your shading and design. I like to use pinterest.com to find my references, but you can also go on Instagram or Google. Alright, so have fun with this exercise.