How to draw a Face

1. Introduction: Hi, everyone. And welcome to the Scotia class. I'm so excited about this class because it is about drawing one of my favorite things. And that is faces in this class that we're gonna be covering tips and tricks and how to draw a face. But gonna be starting right from scratch. So beginners don't worry. Even if you haven't drawn before, I can help you through the entire process. We're gonna have a look at the features of the face, the measurements of an ideal or general face. And then we're also going to be looking at setting up guidelines for your drawings, looking through how to draw each individual fitchitt feature such as eyes, nose and mouth ears. And then at the end, we're going to see how we can take this context of drawing a face straight on and use all the techniques of lunch, draw side on faces and faces from any angle. Just before we got into drawing, I want to show you guys some illustrations I've done before show you that I know a little bit about what I'm talking about. In examples of portrait, here is a realistic and stylized example because you can use this class to learn how to do . I really hope that you enjoy the class and will come along with me and do drawing step by step with me for this class. You don't really need anything specific item using just a pencil and an art pad. But you can even just use lined paper and a buyer. If that's what you have available or you could do this digitally. If you want to do digital drawing, it doesn't matter what made him you use this is applicable for all mediums. So how about we get into the class? 2. Features: Hey, guys. So before we put a pen to paper or pencils, paper or paint or whatever you're doing, I really want to go through the general features of a face. Now it might seem obvious in very preschool for me to say eyes and is in mouth in Nurse, uh, but those are the key features of the face, which we can clearly see and things which you want to focus on. But I also want to mention that there are other features that you focus on, especially if you want to make an expressive face. So things such as the eyebrows or the brow bone, or even just the eye socket. I want you to notice the cheek burns in my Jewell line. I want you to notice that my chin my chin, has like debts to it. I want you to be able to look at the face and be able to identify at least 10 unique features because that way you be able to add volume and add depth to your face and your character. So I know it's super easy to be like This is the I. This is the nose, but how about you go and be like This is the cliff. This is the eel herbs. This is the people. This is the way their eye lid works and have a look at a few pitches of people, which you found beautiful or illustrations that you find beautiful and try and pick out some unique features. I want you to just be aware of these features because as we go through the's drawing classes, you will need to be aware of them because you could just or flat face with eyes in the math and called it a smiley. What you could draw a masterpiece such as the model Lisa because of all the death and detail in this characters. One thing I also want to mention about off each is, is that when withdrawing, I want you to remember that everything is three dimensional, so everything has mess. Everything has shade and turn. Think about directions when you went, for instance, when you're drawing and nose, think about, Hallion knows, slants out and comes back and think about how your cheeks surrounded how your forehead slants back. Really. Focus on these aspects and think of your own face and how your own face works when you're learning to draw faces. It might seem complex, especially if all you ever drawn in your life is stick figures. But trust me, if you keep this in the back of your head, it's gonna help you a lot on the way to making a beautifully finished face. So now how about we get into drawing the face? 3. Measurements: so the guys now actually going to start getting into putting things onto paper. So I've talked a bit about the features of the face, and we've talked about generally what this cost is going to be about. But now I want to get into facial measurements. So when I get into facial measurements, what we're going to be doing is we're going to be going through in giving a generalized idea of the measurements of the face. So all those features we talked about like the eyes and the nose in the mouth, we're just going to give them a rough spots to ally on the face. Now, as I'm going through here, I want you to be aware that when we're doing this, the features of the face don't always lie in. These measurements are favored at favorite Saleh's humans, ever since the Renaissance period has bean symmetry. So these measurements are all coming to the most beautiful aspect of how we understand the face, which will be in a symmetrical aspect. Now none of us can draw symmetrically. No one can draw a perfectly straight line unless you're extremely talented or right but on and everything it is natural and organic. You'll notice when you see my face pop up on the screen that I have, like maybe a Slavic cooker nose, eyes, a slightly different shapes. My eyebrows definitely different shapes because I'm not good at doing them. Uh, but you'll see there that I'm organic. I'm not rigid. I'm not mechanical. So when we go through these measurements, I want you to go through them as a learning basis. We want to commit this to memory, and he won't have. This kind of has a great not head every time I'm making a face. But it is not the set greed for every single person's face. So what I've gone is gone and drawn in an oval kind of a base face shape, especially when you're learning about face in the first place. So doing any sort of oval that you want mine has naturally got more crowning here and chin shape here. That's just because I've done this so often, so I'm hoping conceit is really clearly the first thing we're gonna do is we're going to figure out roughly where we think is the center off the face, and we're going to draw a line down the middle and split it in half. Now the reason I am doing this line down the middle, which I'll do a bit darker so you guys can see it a lot darker than I would draw normally is. So we considered center the face. And because I'm teaching you first the front on face so we can understand the features and everything before we get into doing more complex perspectives. So we didn't completely front on and completely straight forward. So that means that we're gonna have our eyes looking directly at us now, contrary to believe, your eyes are not up here in your head. Okay, They're actually down here, so we want to draw a cross section a line which is going through the center of our oval or our head here because this is actually where our eyes it they don't sit all the way up here . The reason that this is misconception is because our hey line comes down part way and I face, so I'm just gonna market Heylen and you can, too. So hairline comes part way down the head and actually creates the face space. Where now, if you see between this line and the line indicating the chin or the bottom of the head. Your eyes are actually higher than center, but in the actual head, your eyes in your skull are mainly on the center of your face. Now I have been talking about eyes, and the reason I do this is because when I draw, I start off with the eyes that the key feature, I think to the face and as people say that common saying the windows to the soul. So we're going to start that when we're mapping out the features of our face. So when I'm a pat on I, when I'm doing it on this kind of plan, I actually I'm going to put in an eye socket, so we're gonna draw and I soak it here. Imagine a skull, so we wanna match that up on the other side. So, as you can see, even though it's not a perfect match, I've got a match up roughly on the side edge. There is about. It's about half the gap, as I have left in the center on. The reason for that will be explained shortly. This'd just because I've started you two skulls, and that's generally what they looked like because of the bridge off the nose right here. So that's where the bridge of the nose of peace. I think of it like we're drawing high. Put his glasses now. Now I've drawn the eye socket. This is not the actual eyes unless you do a cartoon style, in which case it can be. But we're gonna draw in the eyes now. So a simple way to do this is to go within your circle that you just created and make sort of a leaf shaped oval. Now, I wanted to touch on the outside, but leave a little gap here on the inside here and do the same on your other side. Because, as I said, the height of beauty is symmetry. Um, in the world that we live in. So we're gonna keep it symmetrical. Now, how do I figure out where I'm gonna put my eyes? Well, the easiest solution to that is the seat. My shape in the size of my eyes. Well, I can draw the exact same I here so I can have three eyes across my face now. Ideally, you wanna have three you won't have. Sorry four eyes where you have to half eyes on the side of face or we have two full eyes again, depending on how why the person's facing again. This is just a generalized, generalized thing, but basically you have three eyes across the face because the bridge of your nose is normally the width of your eyes. So I'm going to keep this try. I'd post was going to Cyclops, but there's a single I, and I'm going to draw a line all the way up and down the head in that gap where those my actual I hear and my imaginary I'm eight. So I want to draw that all the way up and down. Now, can you see what I mean when I say This is our measurements and I want to commit it to memory. But I don't want you drawing this because imagine if you drool this really heavily on your page and then had to race all these lines when you are actually drawing your final face, it would be a lot more working necessary. So these are imaginary lines here that we're drawing, but it gives us a good indicator. Now the reason I drew these down here because as with I which is my key point when I'm drawing the my nose is actually the width of a I. Now, how do I figure out where the end of my nose is? The tip Where the nostril there. Well, that is halfway between I length I here and not Jin. So it's about 1/4 off the face. So now I have when my nose is going to be in there now, our bridge of honors doesn't stop here. Our noses not a triangle, which kind of protrudes out of our face. If you're talking normally again, if you're doing a Qatar and that's perfectly fine the top of our nose, like the top of the bridge of my nose, will actually line up here without eye sockets. End where eyebrows will be. So I want to draw an imaginary triangle here off roughly where the nose will be in our face . So I know there is many lines here, but we have where our noses and we have two eyes in our face. Now, as we have this kind of imaginary line here seeing whether talk about bridge is over our nose. We can also see that this is where eyebrows are. So I just want you to indicate at the top edge off your I suck it. That is where your eyebrows actually like. You can feel it. If you feel across your face. You can actually feel that your eye brow rests on the top of your socket. It comes off, extends a little bit off to the side of it here. But for the sake, off measurements, that's where your eyebrows it's okay. Now we have eyebrows, We have our eyes and we have I know So we already have a pretty expressive face and we even have hail and up here. But now we need to include on math. Now. My trick I do with mouth, especially if I'm making an imaginary face with the magical proportions of symmetry. If I take my mouth from the center off the pupils so the pupils are part of the Irish Sea, which is inside I So we're going to draw bulls inside I which touch the top and the bottom . I lives because they do when you're just a rest and we're going to draw those circles and heat in the centre of our leaf shapes for our eyes. And that's going to be our viruses and then are small circles inside them, making it look like doughnuts. That's gonna be our peoples. Now if we draw imaginary lines from the inside of where all pupils, he right, the way down almost looks like our poll person is crying. We get where our math will go in with now. Your mouth can sit anywhere between the nose and the chin. It's up to you. I tend to do about 2/3 up from the chin just because I think that that's a nice natural position for the Mathis it and it gives your post in a bit of chin. Now this is the center of my mouth here. And then, if I wanted to drawing lips, for instance, come down cooked up now, I wanted to draw these lips in here not because you have to do. It's a very organic shape, so it's not needed for the measurements. But do you notice here that they don't go all the way to the edge of where actual mouth is ? Because if you look in the mirror or you look at this picture, which I put up of myself. You actually have a crease where you have no lips at all. Because, uh, it's like the crease of your elbow is just what everything's talking in. So you want to keep that in your mind when you are drawing lips to not go all the way to the end off your mouth line. You'll see this a lot in cartoons where the ladies will have lipstick only in the center of their mouth. That's because of this generic feature. So now we have all our bases facial features. If you exclude our ease, I want to quickly go in and put a bit more of our emphasis on honors. So we have this triangle. He and we have the base of our eye sockets, and I want to have an imaginary line there and right here at the base of my triangle, from the bottom of the eye socket line to the bottom of my nose. I want to draw a circle. Now. We don't have balls at the tip burners, but this is indicating the tip of my nose, and the reason I did this is because now we have a nice bit of space where we can figure out where our nostrils meet. So you see how I can draw right along the bottom of this circle. And that is where our nostrils meat and I have just drawn to YSL Initials in here and my nationals tend to be 2/3 of the size of the remaining triangle. Because if I curve this year, that is the remainder Off my nose again. This is all hypothetical if my person had a perfect face. But now, in those quick motions of pretty much A co. V M and two brackets, I have a full night because of the beautiful measurements, which we previously figured out. No, I could leave this here and just have all those based beaches, and that is all you need to really get started. But I just want at a couple more measurements. So before I get onto the ease, which is our last key feature, I actually want to get into Ah, where are drawn line would be on. And this is especially important line if you're drawing males, so we want to draw from the central line, which we use for eyes you want to draw from the end of the center line, we want to drop down to where we had our imaginary line here for the gap between our eyes, which is the size of that. I, um I want to draw a diagonal line between those two points and you see how really nicely it kind of comes in next to the mouth. That means that we've got a really nice and symmetrical face and I'll do the same thing here. Now, I know during a lot of straight lines, but please do not use a ruler if you're doing this yourself because the whole point of the faces that it's organic. And if you're using a ruler, you're probably gonna be a bit more heavy handed to, So just sketch it out like I am. So now you can see here that we have our Dolans. So if I went in now and drew a line to the cross completely whether bottom my noses and I could shading here like that, I have the shape of where my cheese they're gonna be. And I also have if I shading here where my draw sits because if I did like this little sketch for you, this is where my teeth sit at the front. This is whether sit at the back and this is how you're coming. If I had a skull like that, that is how our school, what's it? And you see how that comes so nicely across that diagonal line. Okay, that's a bit of a complicated land, and I definitely wouldn't bother using it if you're doing more of a country in style. But it's really important if you are doing a realistic style and we are finally going to come in and do our ears. So you see how I did that other Imagine in your line here at the base on knows what. We just want to know where our nose ends and where our eyes are, because our ears actually sit in that space. So if I draw a little ear shaped, which is pretty much a see and a backward see for the other side, Well, im difficult a bracket because it's a little flat off. We just enjoy drawing imaginary es he you will see that it actually looks quite natural, and but they sit a lot lower than you think they do, because when you draw a cartoon face I just drove on here. They tend to look like this, it in the middle of the face. But in most people, and even if you look in the mirror, you'll see that they sit just at the I and downwards. And there about the length off your nose up until your people have a good indicator of this , too, is when you have glasses. If you look at glasses, they have the hook, and then I'll have the glass up. Yeah, so that way, if an indicator being like, oh well, my you can't be all the way up here because my hooks here and that's the top of my ear and that's it, told my eye all the way out there. How would that work? So this is why, because this is having an enemy of your Facebooks and the final thing you want to put in here for a face. Because even though we have a magical pretend hail on which we can just drawing, he is just a arching shape from the top of your area to where we had our hairline before the top of your other. We can also during our neck. Now our nic sits much wider than you think. It doesn't sit like a little steak. It's actually really wide. So in a lot of people, the neck is actually the full width of the head. So it's here. But then you have a lot of people to where they have a much finer nick, and you especially see that in females, this is more of a masculine nick. So how am I supposed to figure out what my neck lies? Well, if you're persons looking straight on, you can always use this line here, which has, at this side of your people, all the way down and putting more of a feminine Nicaea. So I go all the way down and have a feminine neck in that way, if you're having trouble trying to figure out where your neck is supposed to be on your person, that's a good indicator for you. So I know this looks like quite a complicated diagram, and this is pretty much what will be running through ahead and not what will be drawing, because that is a lot of land a race, but I really hope that this was helpful for you. Now you could go in and have 20 more lines if you wanted to, to make it easier for you. But I would keep it just to this one line you might want to draw. For instance, if you're having trouble making your eyes same hunt Just when went during our face. Saul drawer here. When we're drawing our face, we have our magical herbal with a chin and withdrawn are sent the lines here and here. Now I've done one I which is this big and one eye, which is to speak, and I can't get them. So work. So what am I gonna do? Well, I'm going to be like, OK, I want my eyes to be this toll. And that told there so you can draw extra lines across here to give yourself an indicator of being like Okay, well, now my eyes will be the same height, and all I have to think about is how wide they're going to be. And then my eyes are exactly how I need. And don't forget here I can fit in a whole extra I of same width and then you got this perfect face. So I hope this really help to you. I would go through these measurements a couple times to get them in your head. I will try and leave a diagram like this, which has everything labeled for you in the projects panel. So you can have a bit more of an understanding and you can look at when you need to. But yet this is just the basis of what you work on in a head when you are designing your face. I hope you enjoyed it, and I'll see you in the next figure. 4. Guides: Okay, So in the last class, which we just did, we went through a kind of complex map on how to draw the measurements off the face. Now, this is a very similar class to the previous one where we will figure out measurements in the last one. We're actually just gonna work at rough guidelines that you can actually draw when you're doing a face and you won't have 20 lines over did in the last one, which you have to race with your face. So again, I'm just going to come out and I'm going to create a random oval shape. Now I am creating ovals. Not everyone shaped head is ovals, but they are a, uh, variation of it. So you might have people with a square jaw line. People with a round head is it's kind of more around head people with a really pointed chin , almost a triangle shaped head. But this is kind of like the base shape that you want, remember, So depending on here during the head shape will be different, but this is just an indicator. So again, we're displacing on frontal face shapes. So I've just drawn a heavy outline I'm drawing a lot heavier than you need to just so you can see on the camera, then next, we are going to just do our centerline really lightly for you guys. Just draw a center line down here and then we just want to draw our eye line because I I za the most important pot. Now I want you to be able to visualize where your eyes off. But if you can't like I said in the previous one, just do really lightly. But tough guys are going to be. And where the bottom of the eyes going to bay after this, all we need to do is figure out where our nose and mouth are going to be. So we have our main I line here. So what did I say? For our knows, we're going to have our nose halfway between our eye line and Archie in line. So that would be about here. Now we don't have to draw all the way across the nose in the center of the face so we can just market as if we were making a timeline up and down the face in this and access. So what? There is a with the lips, the lips could lie anywhere between the base of the nose and the chin, but I will tend to put them 2/3 up much in. So this is where our mass gonna be. They should be all the guidelines that you need to create your face. You should from here be able to imagine where your eye socket so that we talked about and where your knows lines up with your eyes because we are going to be during in the eyes and everything. I wanted to just give you guys this indicator. So then we can go in and make a face out of this. So I'm going to speed this up now. I'm going to quickly draw on top of this, showing you that I think a to face, that actually adding any extra guides on this, I'm just gonna draw the face from here. Those guests could see here. I just did a really basic grace. I didn't even bother. I'm going in giving this girl eyelashes or anything. I just wanted to show you that I could fit all of the elements in with those basic guidelines, so I wanted to practice with those guidelines. And an actual great tip I have for you is if you're a student on whether it be high school , university, even primary school or just someone who works in the office. I would just using your lined notebook because you can see here you already have lines already set up for you. So you could basically just do your down stroke on your mobile. And you have these pre lines that you can work with tree, create your face. So you feel doodling practice doing your face stuff because he already has all these lines set up for you. So don't forget, practice your measurements and practice it just using these set guides or remembering your measurements because, as you could see, I would be like, I think, the eye socket here. So I'm gonna draw in my eyebrow there. And I was like, Oh, I know my peoples here. If I go down yet that is what at my lips lineup. So if you just keep working on and doing things like that, you'll be able to progress. Teoh being able to do a full face with these guides and then eventually no guys at all. But for now, we're gonna leave this trying here, and we're going to get on to the next part off this Siri's to see that I just wanted to remind you to do a guided drawing just like this. It doesn't matter if you during a had a drawer face, you could even try and just could be the one which I've put here on. Put it in the projects. Because that way I can help you out. Seeing exactly what you're doing and what you're struggling with. And current your guys, if you need me, I'll just give you a major thumbs up because you are doing exactly, um, the right stuff. And also that way there was the communicants eight to, and we can boost each other up. Okay, I will see you in the next video. 5. 10 Face Challenge: Hi, guys. Now, before we get into the needy, greedy eo of actually learning to draw each specific feature of the face and put it all together, I want us to take what we've learned about measurements and guides and draw 10 faces. Now, contrary to what we just did, you are measurements where we found out how to do a perfectly symmetrical face, which is the idea of beauty in Western world we are actually going to play around with if we change those measurements of the face. So I want you to draw out 10 shapes, 10 different shaped burbles or even the square. Whatever you want, these are going to be fixed, or so Just think about that when you're doing it. And I want us to use different measurements within those faces to just kind of get an understanding of everyone's different and how different faces work. And what would happen if I had a really long nose in my portrait or if my eyes all the way down near the chin s So you get a bit of more of an understanding and practice when it comes to measurements on the face and you can just use your simple guides that I showed you those basically the cross hair in the oval and work from there. These don't have to be completed faces. They can actually just be Smiley's in the ovals. Or you can make cartoon style faces. But where is going to give it a go together? So I'm going to speed this up now and do 10 faces for myself Since you guys consider here. I had a bit of fun. I was just going through and drawing tender interfaces so I would change. When my cross hair waas, I changed how the dissents attain the chin and nose where the lips were, how far apart eyes were, how big the eyes were and really hard for. This is a great thing if you want to go through and dio cartooning because, as you can see here, things are very character faces. But it also gives you a bit of an essence into why the perspective is the way the perspective is for a base face, which is what I did for the first face. Because it looks much a more natural than the rest of these and pretty sure I won't see anyone else working in the street with a face. She looks like this with their eyes, a touching both sides of this girl. And there is no bridge their nose eso I hope you guys have fun doing that. You do as many as you like. Iverson. 10 is a good number because it's not too much. Not too little. This took me probably five minutes on It was really good excites just to loosen you up. And also great practice in using your guides and remembering your measurements full of pace . Please leave your 10 also faces in the projects, Bowler. And I'll see you in the next exercise where we will be going into my favorite pot off the face, which is the 6. Starting with the Eye: So, guys from the title of this video, this class, you would see that we're going to be focusing on the eyes. I actually named this section start with the eyes and the reason I did that is because, as you could see through as going through the measurement and going throughout guides, I always start off with the I as our point off perspective and as a point of reference for the entire drawing. And I think I was the most important part of the drawing. In fact, when I'm doing illustration by myself because I've done it for such a long that time now, I don't even draw the full face. I just go in and start with an eye and build out from there. So to draw and I we need to know the anatomy of an eye itself. I'm gonna go through and you're a really big I here for you guys and we're just gonna go in work on the base anatomy. Now, I'm gonna keep this mostly realistic, but I'm not going to go into the full understanding of rendering a perfect I and all that kind of stuff, because that's going to take a lot of time and a lot of you here might be more interested in working at the anatomy of a knife to then convert it into a car shaped guys. So we're going to be drawing the eye and magically things have appeared on my page because I started drawing it on and was talking complete couple to go because I was doing it s so what I did is I drew a line straight across my page time during a really big guy, and I want you guys to do the exact same thing and you feel during small I just drawers full of line. The line isn't necessary when you're drawing and I but I just find it gives you a good perspective having something on your page to start off with. Next. I went and I drew sort of a rainbow shape coming up here. You'll see that I have a shell incline here, so I'm gonna go really dark door. Do it DACA Newell book. Just so you guys and see if I have a shallow incline coming up here and then I have a steep descent and the reason that is is because this is where my nose is, so I am drawing the right. I I think from your perspective on this is how most eyes are shaped. If you look at photographs and things, you'll notice that as it comes closest earners. There's a sharp incline, and that has to do with the bones and the skin and your eyelids in your body. Now the eye shape adjusts for different ethnicities, so I'm destroying a basic Caucasian I. But if you have more of an Eastern perspective, you may have your line actually have to go here on more buzz agonal, or you'll have a flood up island or flat alot island s. So it's all just trial and error. But I would recommend once you've gotten down the anatomy of the eye, which we're doing here to then go online, look at different cultures and figure out for yourself what different aspects that are through different eyes of different people. Because even if you have 10 people which falls on the same ethnicity, they may have different shaped eyes, so it's always good to do your research and reference. So anyway, we have upper island here, but now we want to draw a low added Now, One thing you'll notice, as I'm drawing this in is that it is much more shallow than top eyelid. Now it kind of looks like a lemon on one end. Decide, and it looks like a leaf on the other side. And there is a reason for this, as this is where the bridge of my nose is. You'll notice if you look in the mirror that you just have this little T'd up here, this little lump, and that makes it curve here with your eye eyelids. There's actually like a little curve here. It's not a straight drawing when on this side of your eye, your skin actually tends to fall down a little bit, especially as you get older, as you may have seen in my old man picture. I showed you, Um, your skin ends up drawing down that way. So that's how come you get a nice point here, which girls like to utilize. When they do that, Can I make up? And as you can see here, I have about one thing. Go hot here and answer to knuckle height, CIA and pull finger hot here on, and that's changes every now and then. But I can guarantee to you that you're up Island does more work on, and so does more movement. And so your upper part of your eye generally opens wider than the bottom part of your eye. So now we have our basic shape. We are going to go in and at the most important pot and most beautiful part of which is the iris and inside that people. So unless we're really, really surprised, um, our iris will always touch our top lid. And this is mainly if you're talking biologically to do with our folks saying end to do without eyelashes, protecting eyes from the sun. So you don't eyelashes too far away from your people where all the light comes into I because then there's not gonna be any shade, and it's pointless. So Iris will always touch until Island. So in that we're going to draw really lightly enough A circle? No, which just skims the bottom of your I hear, see, are almost touching, then actually goes outside of your eye on the top of your now. I'm not gonna docket in that. Top it just because I don't need it. It's just a rough guide. But for you guys to see I'm going to make the outline off my eyes much more defined. So it almost looks like a little sunrise here. If you think about it, they go there, that IRS, and it fills up, uh, probably 1/2 of the eye space because both these wants would probably make up the same volume as your irons to give you an indicator. If you were during a realistic I and then now we're gonna do a pupil. Now. Pupil size depends on our immersion because depending on emotion and also the amount of light coming, tie a pupil shrink and girl Laja. But let's just say I'm an ideal environment where we're very relaxed. Just think a little bit bigger. Whole understanding they're not like am awarded or not, uh, that you swimming a little kid, Symon. And that is probably the size you want for your people. Now, how do I know what I put this? Put it in the center of a higher. So if I draw a cross hairs here across my circle of my IRS, you'll see they match up the cross hiss for my people, my peoples in the center Now I'm not gonna do too many shines inside anything cause they're not necessary for you to just bring three dimensionality So we can just color in people black because it is basically the void of light Um, it's a hole in your eye So his college in So we know where it is. So now it's starting to look like and I but we still have ways to go So next thing we're gonna do is go back here. Teoh teed up. Now, since I'm so zoomed in, I can actually do a little bit of a separation here where you can kind of see the three dimensionality of the skin on the island. And then I calm around here and there's a little just It's like a little bit of gun cause piled up in your I Ah, but there's just this really tiny bit of pink flesh which is here, which is your teed up. So you want to draw in? You can't really notice that when you're super far away, but it does affect the shape of your eye. And we also just want ad being this close to why a little bit of three dimensionality here ? Because your skin is not just two dimensional, it actually has a little bit of thickness to it. That's where the especially thick skin comes from. So now I've kind of done the inside. I we can go in if you want and just add some shading because don't forget your eye is actually a bowl. So if I I is a bowl like, I'll just drop here and then let's say there's some light coming from this direction. Naturally, the shadow would be on the other side. Now, just to make life easy for me, I'm just gonna be making it so the light is almost direct from forward. So ah, Bull will just have a bit of shading like it's like this point would be about here, Uh, whether people is so if we're looking at the whites of Ah, I just be a little bit of shading in here, and I'll be a bit of say, because of a off the island in eyelashes and allow extra goodness. Another thing to when I'm talking about shade is you know how viruses actually call up, so we'll just put in a call here and we'll just put in A couple shines on this side, so I'll put in a face color now, I said, I'm not going through making completely released a guy here because that will take a very a long time and a much longer than you probably want to be listening to my voice. But so after the color in this case is probably blue, Um, you also have shading off the top here, which will make if you're using flu. It's much darker. They and almost feel like a little bit like the shade from your people. Which is other said a black hole seeps seeping into the shade off the Irish. Here, I don't think to remember to is you actually have your strong with IRS colors there on the outside. You it almost feels like there's a little outline in your eye and around the people. And then you just have, uh, it's actually muscle fibers. So this actual the lines of your muscle fiber in different colors of your eye. I'm bleeding through, but there tends to be sort of, um, strap. Penan, which is coming in two imaginary, sent a point in your eye so that he's basically what your eyes look like. Now we're going to get to the skin or just on the outside of I. Now I want to focus down here first at the easier side of it, which is Lower Island. Now, Don't forget what I said about our I being a bull visible and it fits into if I have this as the front of the face has our eyebrow Lahia and then it comes out haven't island. And we also have come in a beauty for our Lowell it before we come out toe on cheek. So that's our brown. That's our cheek. Just so if you were looking at the Tiger Ham, you understand? And then this is our I So this is kind of what are I looks like in there, So that means that there's this bit of an indentation here, so that actually starts from center of the eye and folds down. This is how people actually get back under the eyes to, um so I'm just gonna do a little bit of shading. He everyone has at this delineation on, and they also have a little bit one. He you don't have to draw all the way across. But this delineation is really good for focusing on when you're trying to draw a realistic by. And it tends to kind of hook around on what we have are teed up because that is a fleshy area, sir. It is a bulk, a bit of volume in that probably I The next part is I now in Caucasian eyes. There is a deep fold on when you get two more East and eyes. There is a less of a deep fold on that island. There's is ness and beautifully smooth. But we're gonna be focusing on doing that fold because that is the basis design off the eye anyway. So when I said there's deep fold right in here, there's an US deep fold. I'm an eyes tend to go like protrude a little more or not. Brown tends to be a little more prominent, so we get a stronger fold in here. So when I'm going through, I'm going to be drawing that folder I and during an island again, I'm drawing a lot heavier than you have tea Now, as you can see, I've got a little bit of a crease here like that. That is just generally, um what, uh, Islay does off. This is a much more emphasized version of it. You can A lot of people do just have the one beautiful arching island all the way over the top. But I wanted to show that here, as we're going through the united, even I and this is especially popular, this kind of island style in manga to So, uh, if you're trying an enemy style, I would recommend doing the emphasis of death. So adding, See, I have my island, and it is further away on the inside, then is on the outside because we have a value here in the outside of IRS. More hinge where this is where we got a lot of working parts to do with us Sinuses, and then he basically shade along this area. If you were including the brown, this picture, which is somewhere above who, where my pages, you would also have shaving leading at into the brow because this is all, uh and indent. Yeah, before we get to the brow. Now, the final thing that we're going to focus on as we are so close inside of the eye is we are going to be doing eyelashes now when we look at the top of I eyelashes, actually flair out more like a smile. So eyelashes stick out like that. And when we look from the side of I said, they's I eyelashes. So we want to be imagining these two types of shapes when we are drawing them in. I. So that means that if we had the tick off, I these eyelashes will almost look black. They're going straight up. But when we get to the edge of a I, the's lashes look like that coving up and outs like that, so I don't need to go around now and draw in eyelashes. Were you going to pretend that this is more of a feminine? I just because you tend to draw stronger eyelashes on girls because they were mascara. But boys do have challenges as well. Uh, many have really good of eyelashes, sir. It's definitely a future you want to focus on because it does at a lot off beauty to the I . Now I am going in, and I'm just drawing lines, but you'll see here that I am drawing them up. So I almost have a bunch here that you're coming to a point now They're not coming to, like, delivered point. Like if I was during the country and I relic three points, that's gonna be my eyelashes. No, they are just naturally clumping up in areas because that's what eyelashes do, especially if you are, um, teary or if you have a what I and eyes do, you have moisture in them. I'm schooled, which was fluid on women, and it basically helps us, I was saying, and keeping eyes maintained. Now you have a lot less eyelashes closer to the inside of your eye because it affects your T duck. But that is basically what the off island just look like. You can see that I've got them feeling up over our upper island delineation, and that's because that's what happens for most people. Naturally, there any time they want fan up, is when people have the eyes coolers ing. Now I'm going to do on low. I leads eyelashes as well, because don't forget eyelashes on just on the top like you see in cartoons. But if you look closely at and I you can actually see where the eyelashes grow out of on your bottom leads. So unlike the top lid, where they kind of kill up and out of this imaginary area, you can actually see where the lashes are growing on the lower lid. So we are just gonna, um, has these lines coming through here, but you can actually see them from their base. Now. You'll notice he Azzam doing this, that the lower lashes actually showed off thin. You offer eyelashes and they do become less abundant. The closer you go to the center of the eye. But that I am talking about on the center of the face. Now I feel like these. Once you look over the long and doleful sons quickly redraw over the top of them because I'd rather it look a little needed for you guys. Yeah. So this is the basics over. I too quickly run through. We drew a straight line across just that we had an indicator of things on our page. We then drew a a rainbow, which was steeper on the inside of your eye. Depending on whether you're doing your left or right, I this one we were drawing with. All right, I Then it was on our outside. Then we had I Tola on the top half, Then on the bottom half and we had it looked like a lemon on the inside in a leaf on the outside because of Arteta Arteta up. Is that a little knob that you get on the lemon on the inside? From there we drew a circle which was protruding over the top of where your upper eyelid is , because your eyelids will cover it unless you're surprised. And it was barely touching or not touching our bottom island. From there we added a not teed up, and we added in off shading and added in pupil, which changes side is depending on our emotion and the map of black, which is coming into the eye. From there we added some shading because don't forget that I is a three dimensional object . And then we added in eyelid shapes. As you can see, he it. This is roughly the shapes that you I would make around this three dimensional sphere that your eye is. Then we advance eyelashes which flair and co up and down away from the eye as they are protecting it. I hope you guys enjoyed it. Give you a bit more of an understanding of how the door and I give it a go or do it in your style in realistic style. Look at a friend's eye and try and draw that. I hope you have heaps of fun doing it because this is the key element to any face. And this is what I work off to create an entire face around. So please practice your eyes. Leave one in the projects. If you feel up to it, I'd love to see your work on them, and we will get to the next feature off our face. 7. Know your Nose: so, guys, we just did. I which, as I keep telling you, is my favorite part off the face. But we're gonna work down from that now, and we're going to move to the nose now, remember, in measurements how I said that he knows is with between the eyes, which is the same as the with off the ice. Older are imagining I up here. I hope to see that it is the length off the 1/4 of the face, plus from the middle of the eye, which is where the middle of the faces to the bridge of the nose. Sorry, not the bridge. Nice. Original is goes to the top of the eye sockets, the brown. And when we did that, we created a triangle for where on earth is going to be. So this is kind of where you guys were left. It kind of looks like a symbol from the American $1 bill, But this is where we were left with the nurse, and then I kind of filled it in. So from here, what we did is going from the center of the nose. We made a circle here at the base of the nose. Now you want in the center of the nose? We don't want to going all the way to the edges off triangle Here are. But we made this circle and this is the tip of the nose when you have the full face at pretty in measurements tohave how to figure out the size of the circle. But we're just going if we're just drawing knows without a face. So we during this circle from this circle, I want to draw my nostrils. So, as you can see here, I'll draw a bigger So this is I'm just gonna draw the base of the nose here, which is where all the fun bits are. Really the rest of it's just a big long bridge, like a snout. So this is the base of my nose here. This curve is in your front view where the center stem of your nose is between your two nostrils. Eso curves down a bit, and here it kind of is shading cause it's connecting to the face where there's going to be a bit of a a dent here, But, um, so this is between your national. So what? We want to do is follow this cove and then we want to make little wings of, like, you know, how you to drop birds like this when we were in school. So we're gonna create those wings on either side off this. So we kind of have this to mountains in the valley on. And that's the base for creating the nostrils off a nose. Everyone's noses different. Other said in with, say, with the eyes, different ethnicities have different check knows, but this is a kind of a good way to figure out where to place the nationals. Yeah, this line won't always be here. You can come in later and you can just erase it. Stop. And then we go. We have to nationals, which are really neatly place separated. And but this bill always have shading in here unless you're being lit from below, which would be here and not be above. But we're just going to pretend that we have this lighting. This is kind of the lining entries for everything s so here we have our nationals, but our nuptials are just little archways. They are hold because if we look at the bottom ah knows it kind of looks like a pig snap. So this is the blood of minors. And we have two nostrils like this in their holes which go into fire into our body, go to the lands, breathing all that kind of jazz. So they're just gonna look like arches were actually going to take from this arch. We're going to start shading downwards because, um, we can actually see a little bit into the holes because people's notice are slightly tilted up. Would say, if I was drawing a nose from aside, you kind of look like that's instead of if it is like your horizontal line, it's slightly tilted up with. So I should be able to see this imaginary nostril in here should be able to see some of that. So I want you to shade in here and create and almost elliptic shape. But you see how I'm not joining it. So it's not like I'm drawing two ovals here because you have, like, this little skin flap here in your nostrils. So that will make the shading, um, light of this That way. We have two nights seen nationals now. No one's nostrils are symmetrical. Quote like this, But again, um, this is just giving you an indicator for drawing it. Once we have got our nostrils, which actually dipped down more in the center, in our up more at the end, we need Teoh at some three dimensionality toe a nose. So not gold more. I know it is not fun. That face we actually have thes curve which kind of go around Initials aren't where I knows sticks out So we're going to imagine that that's kind of the leader of a jar. And this'll is the body of the job. So that's the whole and this is the actual body of it. So if you were drawing this in a cartoon way, you can think that there is this circle here, which is our imagining two runners. And then there's thes almost two egg shapes here. I've got to eggs, ships, and in between those extremes here, that's where our nostrils are. But we want to make it look a much more realistic. So we have to actually use for machination. We have to imagine our eggs now, as you can see here this shape here, my little bracket is going underneath with the nostril bees. If I kept following that curve with my pencil, it would actually come down here, and it would kind of come in almost like a W and meet in the middle. And the reason for this is because if you look, you know, is that the way is but there's three dimensionality I'm going there in. Basically, you'll get to a point here, rich just under those nostrils, and then you can start just shading. So you see how this is coming under this because of this space here. That's kind of what we're representing industry dimensionality. And the reason line putting shading in is because it's a very tight crease if you just look at yourself in the millions. He was very tight. Crease off your nose on this. Is that basically how you draw the tip of your nose? And you could copy the shading that I've done? This is all for a specific a light source. Ah, but that's basically showing the under side of your nose. Now, if we wanted to do even devastating for this kind of lining, um, this will actually delineate the rest of the shape on No. So they say this bulbous point here, which is actually tip of honors. We can draw a little line in here around that bulbous point and then cook from there around our nostrils, and that gives us an indicator off, like the rest of shapes our nose. So from here, we can shade where that point is, and then we can shade the's top parts of where that imagine in your line during their nationals to give that effect of our like our bridge of my nose, which is coming up through here. You'll come up all the way through here, see if a shade, that's what the bridge of my nose is coming. And then here we can actually continue. You know how we did those amounts and values ships to create our nostrils. We can continue that here for us shadows, because all of this is actually the underside of our nose. And we can do a shading all the way along here to give us a bit of three dimensionality. And this will be where there's the most Londoners. Find that, especially a menu news Spencer, but you'll have more delineation. The stronger the Lazzaro's is that you're using but I don't wanna use this class to go away through light sources and everything, cause I will take a very long time that actually is gonna be a whole different class in itself, on its up and coming. Uh, this just gives you an indicator of how to draw the nurse. So this is a very zoomed in example. Over knows, But let's go back to our basic principles. So we started off over here with our I with Southerners, which is a triangle, and it's 1/4 of the height of the face plus up to the way the eye socket is with the broth . Then we drew on this ball for the ticket banners. And then from there we create our bird wing shapes to create in the mountains and valleys Ron nostrils. And then we create out bracket shapes here which tuck underneath of the mountains to create the nationals external shapes. And then, if we wanted to have a delineation for where there would be shadow or light, we can again create more mountains and valleys based around the curvature off this sphere, we have for the tip of the nose on and put a little more delineation in the top of our brackets have from coal around a little more like a C at the top and at the bottom, and you see that is a simple way to put a nose onto a face. I'm so hope you really enjoy that. This is just the one shaking nurse. And as I said before, there's plenty of different shapes on plenty of different phases. But this gives you the base rules. So with any knows that you're drawing, you'll be able to use these rules and see the shapes which I have mentioned to you and put it into practice so we can drop shopping noses longer. There's a short and others, uh, more, uh, turned up noses turned down. This is all that kind of stuff. We've your with the rules, which we've kind of gone through for your nose. So, please, if you draw just noses, put them down in the, uh, projects. I only did front view because that's what we're focusing on to make it easier. But I will go through a quick side things later in this class, but I hope you 8. Lovely Lips: Oh, you guys that have been eyes and nerves. So what's the most important thing on your face? Oh, right, let's go through and let's do my math What I've been talking out of it was like, endlessly to teach you guys, but it's actually really fun and very challenging part of the face. Now, don't forget again. Go back through the measurements class if you're not sure how it lines up in the face. But I'm going to show you how to. Actually, I draw the front front view of the lips and then you can fit it into the face measurements that we were doing don't want. You have to go through both his aspects at the same time because there's just too many rules for us to focus. Born on one thing. So we're going to do the same thing that we start off with four R I, and we're gonna just roll a line across the page. Now I'm during really big again. You don't have to draw this big. You just draw little thing in the corner of your page if you want, But this is just serve. It's nice and big for you guys. to be able to see it now. The one thing I want to remind you of when we were doing her measurements is I said, uh, that the corn increases off math. There's no actually any lips. They're so we're just gonna do little shaded teardrop shapes, almost like tip of a matchstick once it's burnt out. I'm just said the end of our lines Don't do that to you. See how they like, barely thicker than the line that I've drawn. This is just little indicators off where the edge of my lips are. That's basically just where the fold is of what your lips trying from here. We're going to start with the bottom lip, and we're basically just going through a nice big valley and I speak Smile now, as with every other fatal feature, um, lips come in different shapes, sizes for absolutely everyone. So there is no right rule. You could have your lips being square. I could have been being really thin. You could have being really full three. Only thing I want to mention is that when you have your lower lip coming down here, you see how I have a little bit of a tail off for the curved slightly changes edge like if you're on ice skating played on and it looks like a little bit of a little bit of a bowl here. So I'm not just doing one direction. I'm actually got these two little lines on the edge here which change of the direction after they can smoothly thing into the crease off our math. So they there's a bottom lip your perfectly halfway there, um, from the bottom lip, or we're going to draw our top live. Now, this is not saying that this straight line, which is way too strict to be natural, is where our lips meet. But this will just give us an indicator. So we're going to say roughly the middle of my lips is here. So we're gonna draw across line across here, being like that's where the mill my lips saw might not be the exact middle, but optically it looks like it from here. We're gonna have another valley but a small on at the top here again. There is no exact measurements or science to this because everyone's different. But if you have a nose to go off, I would recommend at this being the same with as the gap between your nostrils. Because if you think about it, you have your notice, he said. Is your nostrils and you've got kind of your drawing? And then you've got this increase here. This crease here and that's kind of where your lips point and meat. So then, if I drop my whole mouth there, that's where they meet. So if you have it kind of the same width as in between your nostrils, you're probably going to get it right for the type of face that you want to draw again. Just reference. Look at people's faces if you're drawing someone from a specific culture or something, how I would recommend just looking at his people from the culture. If you're drawing specific person, look at a photo of them. I'm seeing what they lips look like and then draw that. But now I've got this bowl shape. It could also be more of a fee if you want to, and we're going to come up to two hills and do and come steep up into the hill, and we're gonna do nice Scheller decline until we get to this point again. Now you can see how my slope is not tapering off. So I'm doing the opposite of what? My bottom lifted. I'm coming down my slope and then I am flattening out. Do the same on the other side. Now these don't have the perfectly symmetrical cause. No one's lips of perfectly symmetrical. I am definitely want to talk about that because the mind of nerve in symmetrical and I actually sometimes already paint chip my lips with lipstick. But now you can see here that we have the upper lip and lower lip. Now this is a very feminine I'm looking lit because so delineated but men's lips of the same shape. They're just normally less full in the upper lip region. Here, they probably have a small delineation. So if I just do a dotted line, yeah, that might be dizzy delineation If I was doing a male lip on. The reason I'm doing female is because when I see beginning oddest, the majority of them wanted role females rather than males, because they're much softer, are much more fluid. I'm an easier to draw character when, when you're drawing males in the art world, on. They have a lot more rigid lines to represent muscular only on. And I'll go through that later on anyway, So we're pretty much doing female lips. So we've come here and now we have this really straight line here isn't actually the case, it'll So we're gonna do some very slight bumps across a lot across here on to make our lips book the way they do naturally. Now, lives have this little peaky s there. We have this very little bumpier on, and that is been that since, like birth. It's like a little bit of a big on your lips if you look really closely and that's just a natural occurrence and then we have a very slight hill and we go back into a valley to come back up at our point where magic it is so another on the side, very slight, healed and then a very slight valley. And then you meet at that little dent in the middle. So if I was going to emphasize these lines from point to point, I have my deep in the middle. And then I have Valley Kill Valley. Hello, and this is all to do with the volume off your lips. But you can say it mainly once I had in those variations to my line, my lips and mainly feel much more natural. Now I want to talk about volume now because now we have a shape. That's great. It's a great shape. Now I want to talk about William. So if I was a draw, lips from the side. We have our news. Just this and then we come down, our lips put out, then come back in an angle which is covered. And then we cut right around here so you can see here my apple. It has a bit of a curve here, but it's coming in and then my lower lips going out but actually curved round cause a low lift. In most cases, I will be the full it and it has a really tight tuck in here before we come out to action. So we wanted to dip, eat that kind of shaping on the front view. So if I would just have lining coming straight on, the darkest part would be in the crease of the lips. So we put a bit of shading here. I'm just gonna be doing the couple it first. And as it's coming straight off the live this pot would be up here in the point off the lip before we start heading back before we got to the nose. And don't forget this crease we have here, they will always be a very might be very mild. Might be very strong, but they'll always be a slight indent. Yeah. Now, again, I'm not gonna go through into a completely I'm realistic, really detailed rendition of lips here because you don't need to know. Rollers think you just need to know the basic understanding of the volume of the lips from here. I also want you to go through and do the's shading where you're cutting in again on the on the top, off the bottom live, Uh, because everything comes into a point because our math is a hole, and then also, the bottom lip is like it actually curves all the way around. If I was to draw the lines like the creases in our lip, it curves like this. It's got it's got followed into it. It's not just straight up and down, So this is our lip curves like that. So then we'll have shading here too, if our light was coming from directly in front of it who also have shading underneath Olympia, where there is that this crease. Uh, there's often shading here, and it's a great way to dealing. Chin are often is emphasized with expression. So you're smiling, you're angry, they'll be a bit of a delineation, and this almost is in the shape off frowned this the shading very here. And then just do an oval shading lips because your lips are a darker color, then the rest of your face, they will be pinky or will be brown. Then there s your base the only time they may not be. If you think you have a really dark skin are person that you're working with, in which case the standard part will actually be pink because everyone is the same color inside were all pink on the inside. Um, and this is a quick example off how you draw lips. So to go back through it, we have a line that we set up with our matchstick endings because I lips and go away to the edge of our mouth and then we have this nice valley here for the lower lip, which has little ridges on the side of it, as if it is the lips of both. Then we have this beautiful valley here which comes to to rolling hills to create our upper lip. Fullness doesn't matter because everyone's is different. Then we have this little extra piece of volume on offer loop, and we have very slight hills and valleys in the shape of the close. Mathis is a straight math. Obviously your valley would come up in nice, steep incline if you were doing a smile, or you just get rid off this valley here, all together, if you were during from because everything her in that same hill immersion from their difficult that lips have volume, they come in where your mouth is, and so they come in underneath your building. I'm certain underneath your lower lip, and they kind of just come out at the top of the awful lip. And don't forget these two delineations off the planes of the face where we have this indentation. Yeah, witches aren't coming from unmake the nurse, and we have his indignation indentation here at the top of the chin. So I hope you enjoy that place. Your meet your lives down in the products that all of us can see it and we will get on to the next week. 9. Can you Hear me?: everyone and welcome back. Now we have done all like the frontal features on the face. Now I want to get to during the ease with his your mother, one of our keep hatred will not face. Now the dream is I understand. Wanna show you front for you? I want to show you side first, so we get a bit of understanding of what is actually in India. Now, one thing I recommend you doing and I just did is take a photo of your own ear from the side. That way you will be able to figure out what the different shapes are within the year because it is not just a simple, uh, structure is actually quite complex. So as we're gonna settle for the side, yeah, I'm actually going to be doing in her vest to what I've put on the image just because of the way everything set up for my cubs to drilling, you know, they didn't start off with a circle. Then we're gonna do small circle connected to it. Men, we're gonna use these two beautiful curves that we've just created from our natural handlers. Just and we're going to create the shape about you now. I cannot repeat enough that everyone is different. It run has a completely different look. True. That is just like they do with their nose, eyes in math. Now we have the basic about you now get the difference between attached lobes and not attached lobes. But I tend to do a semi detached because that is the most common that you'll see. And especially if you end up moving to doing touching styled work. You have a detached lor. The rest of here is attached. The next thing that we want to do is you want to get this kind of over flat we have here. So we want to do a very light Tracy on the inside off the top half about you. And we want to stop this line just about where we get back to the circle that we created. Now, this isn't normally that symmetrical in an ear on, but for the sake of teaching you, that's what I'm gonna do. Normally you'll get a bit of a flattening out across this region here, so it goes a bit thicker. Um and then it coz background to a final point. There comes down and this is a really definite folding, actually comes down and becomes a bit more gradual here. But I'm trying to keep my plans really six feet so you can see them. Now we have this and we actually want to continue this line down here on the inside of Armenian Circle that were created. So this circles, actually, really I'm handy. You kind of get an almost well coming from this shape here, which is using the circle that we created now from here, we actually kind of have. It's kind of like a laneway into our area. We want to actually come back out and then drop back in and create this funny Ah, lump shape. Yeah. Now I'm just doing a quick word map of what shapes are in the media and then out Come and explain it to you. Okay, so these other two kind of key lines that we have creating the shapes of the excluding the actually hole. Now, one thing that I've been taught that helps me remember this really well, it kind of looks like a mid in Tanzania. So if I put like a little mitten here, that's kind of what it looks like. So you have the thumb in the fingers. Yeah, and then you want to make sure that you have a nice, thick lot here for your you'll herb, especially for drawing a female character. Because imagine that I could piece the they and there's plenty of space around it to be able to fit. Nearing that way, you kind of know that you've done the thickness right where an earring would normally go. I imagine that there's these bump in the road, so it's not just a curve. And then when we're coming back up here, we want to actually avoid that line, which we may before here, like from our swell. And we want to kind of be like, as soon as we get near that point, want a curve away from it and then cook back into on and follow along past a little laneway here that I was talking about before. So it is very complex shape. It's quite hard to explain, but if you can just see that diagram there, that's kind of the basis of the inside of AEA. Now, from here, we actually want about you hole in that is in this area here. So that's actually hole in our either. And the rest of this is over shading. So now we want to come through ID sensory dimensionality to it. So, yeah, this is gonna connect up, and we're gonna have a bit of a a shadow in this crease. We're gonna have shudder around a laneway here because this is protruding and this is the value. So we wanna have a video shot around a laneway around. Where are actually whole is here because don't forget when we go into holes, we have this curve coming in here, so this might be the black pit, but this is all shaded because if that's where the lights coming from, this is close to the light and that's further away. You basically want to going anywhere where there's in Central Crease in put a bit more shading in here because depending on whether lax coming from that's actually going to impact, um, be quite a lot with all these harsh curves. So all the way up here, where we have all these curves, that's all going to be shaded in there because that's actually a recess or a con que that everyone is a shape differently. Some people have a really small this big section here. Some people have really small. Some people have it a lot less defines and what I've done here. Now, I really advise you take a picture of your art. Yeah, on and seeing what you're only looks like and then following the past both that year. But this is a really good indicator of what is there you to get kind of a gist of it before going into trying to draw a four year. So that's what you from sideways. Uh, when you see you from sideways, this is the front in these flaps actually cover a lot of the details that we see here. So if I was drawing the same you from front on my curve here, which is that Big C would turn into a bracket connected to this a face, uh, he's the face, so it will turn into a bracket connected to my face. I'll just try and keep this the same size. Now people have most yacht years. They have less. To gallery is when I'm drawing my stylized work for my Children's books. Um, I have quiet. I do quite sticky ideas, but for now we're just gonna keep it like this. So we have our bracket with our extra curls in like a backward See from this perspective, then this area here actually bulges out of it. So we have this sort of skin area. This is where our lane is imagination. But in the imagination you but actually from the front, it just looks like a bit of a bulge. And then we come here. There's that second bolt here indicating this area and thats where the actual whole of your ear is here on. And then we have, Are you? Oh, now here is defined with that nice around doing following our imaginary circle. In this case, it would be true ovals. And then everything else becomes a lot less defined as with working with it from side view . Imagine that we're gonna piercing there. And then everything is very much shading from here and out because, as I said from side view, everything's a little less defined, and that's pretty much well you eat could look like from a side view, you might be really lucky. And have these which appealing right your head, In which case that might be here. Yet you looks You might just see the subtle lump here off where this shape comes in on your is practically glued to the side of your head. Eso all really much depends on what character? Your drawing. Now here's a quite complex and this is a kind of realistic rendition of it excluding the shading. But we could go through and do a couple different variations for cartoon is So there's the really simple one, which I kind of it makes me think of monkeys where you have your big I'm CIA reverse See, depending on what you're doing, Um, and you just simply do, um, inside C j cycle that the monkey And then you could have a more, uh, U shaped here. So we're getting that be more over where you can imagine are two circles coming in there on and you have a little bump at the bottom. Then you you have this little are chea, and then you come round to your diversity because it's this type of Ian and you have your much cookie hole another way that they do it. I think especially in the symptoms is something like that where they have definition for this interior of the on and then they have arching cookie on. And then again, the ear is just a reverse e in this case or if you were during other if you normalcy, you can pretty much do you use any way you like in cartoon landscapes to fit the style that you want. But that is the easier for us. And I hope you really enjoyed it. I know this is a really complex foam, but my recommendation is definitely going through and finding that photo off the which I just took on the side of my head because I couldn't be wrote to look online and then re creating that here on your page. Uh, would really love to see you put is down here projects and I will see you in the next video 10. Adding Personality with Cheeks and Brows: are you guys? Welcome back. So what I've done is I've really roughly joining the eyes, nose and mouth on this face of this girl. I've ignored the years because you'll see in a second, but we're gonna be using this girl from the next couple exercises because we're going to start be doing the final facial features, which you actually need the whole face to be able to do in this specific year. We are going to be doing that. The cheek burns and we are going to be during three eyebrows on this girl. Now, the chief burns on this girl are going to be fairly easy because we already have a nice face shape toe work off here on. And I even added in a bit of delineation on the chin. But I want you to remember what we were working on when we were doing the at the measurement exercise. And I had these diagonal lines going from side point of eyes down to the chin, which is kind of delineating whether shadows go also cheeks heavy, soon called apple of the cheek. So when you smile, you'll see that there's like a big mass of muscle in here and what we can do. The work that out is weaken. Do a almost a triangle here. So I hope he concedes I'm trying not to do it to add to add too strong. But we can do a triangle between our diagonal on my nose and just coming down near than math area. And this is going to tell us where the apple about Sheikh is now if you don't wear out cheeks are cheeks all about shading, so I don't want to go in and actually draw them in like I did this line. So I'm just gonna make this a little fainted for myself. We actually want to go and shade them in. Sir Francis here. I've got, like, really, really quick shading around my nose. I can continue this down here around that apple of my cheek. Ah, and same on this side. And I can also continue this across this draw line here and on the top side of our cheek to So now, office has a lot more shape than it did before. Uh, no. Everyone has prominent cheeks like the cat during during, but there always is a little subtle uh, shade mark here from the notes. The cheek Just were that muscle connects and also underneath the I towards the cheek. Like these ones I've put in here. I'm just gonna make him, Doc. Oh, so you guys can see them again? I'm just doing this really dark so you can see them. But if I was working in to do a full roaring, uh, you can see that I do a lot more layers of work on. Go come back in and really work it and get the light source are the way I want it. Now we have our cheeks in. We're going to do our eyebrows Now. Do you remember what I said about how we do our eyebrows? We set them up on the top of the eye socket, so I haven't drawn them in here. But let's drawing are imagining. I spoke on this. I So do you see my I still get there in my skull. Um, that is really easy, because now I can just go in and at the shape of an eyebrow to the top of that soffit, which is the brow bone. Now, when drawing eyebrow, if we're going to pretend that everyone can do their eyebrows. Inderal Beautiful. We have it Sticker on the inside more square or teardrop shape and become to a point on the outside. So here I've got my pretend. Uh, yeah, So I'm like, OK, sir, I will be on the inside, which is also just a little bit overlapped from the inside over I I come round and make in Ah Jing shape its steeple on the outside And then I come here, make my teardrop shape or a square shape depending on how you want to shape your cousin's eyebrows, come around and then come to a point at the end of my eyebrows. Now, my end of my eyebrows are coming out quite a fair way from the edge off my eye because that's what they do in natural life. If you have a look at photos or you have a look at even yourself in the mirror, you'll see that your eyebrows extend, paused your eye on the outside. Now, when we're doing eyebrows, if we're doing it in a sort of realistic sense, they're not going to be drawn on like that. They're actually going to be just hair fibers. So when you're at the in a part of your eye, the hit tends to point up and then, as become around, it tends to point out to the side and the direction of where your eyebrow is going. And then it will come down to this point here. So in the inside they point up, and it kind of make this almost fanning from the inside corner. They come around, they point in the direction of your eyebrow, and they come down now. This one was fairly easy, Jew, because there will delineated by the, uh, path majority created on and the character here she seems to be roaming ah, bit of makeup and kind of has her own drawn on eyebrows. But if you were to do it for, let's say you want a really old man or you want I'm someone who doesn't draw on their own eyebrows. I would just separate those hiss and more. So this is the enough of my IRA. You see how Noel the hairs ago in the same direction. Then I come across here and then we come down, so that's an eyebrow and I can put as much hair or spots hairs I want I could make the hairs as long as I want. And that really adds character to what you want to. You can even have, um, the extra Flicka has, especially if you have an older gentleman on. They'll tend to look more like that more oven ungroomed look. But that's basically what neither looks like now, as we're working on eyebrow, I also want to welcome the brow bone. So you see here that the bridge of my nose is coming up and calling out Drop Robin where I suck It is. So if you follow it, that's going to be shading underneath on high row, because that is what is gonna be an indentation between the island here and the brow bone before it's protruding out. Whether Iro is and then slowly folding back out into our forehead, so now very roughly are person seems to be getting more face now. I did the same eyes in nose and lips that I showed you in the previous video so you could actually get to this point if you wanted to. You see how the cheeks just adding cheeks and eyebrows immediately. Ah, person is looking more realistic Now don't take this shading style as ah finished piece. I just wanted to show you where all the elements are as actually do in the previous drawing that put up off the old man. You really want to work in and add more dimension, more depth in your shading and really focus on your white source. But I really hope you get to this point and I will see you in the next video. 11. Shade and Pigmentation: okay, Before I get any further on drawing Thean Adami side off the face and even getting onto the hair, I want to talk about the shading. Implementation on the skin now allows video. We went and put out all these kind of lines, indicating where there would be creases within the face. But I'm actually going to go in and just indicate for you whether it be struggle, pigmentation within the skin and other areas where you can show a lack we have with the brown in the checkbook. Now, as you can see here have also got shading underneath the nose. The nose is always a very important part to shade. So I've done here. I've got the nostrils, obviously a nen dense. So they doctor, just like we have about people's in our mouth. Then we went in and we did our shading underneath like I should do in the nurse tutorial and I came through and on either side off the nose. I have gone in and done shading indicating where the bridge goes up now. One side is darker than the other because my light source is kind of in front from here. Another area where shaded is around the eyes. So I shade here. I'm indicating the islands always have a little bit of a crease under here because this is actually quite a young face, but there's always shading he indicating where the lower lid is. Um, if I was shaving down these line here, which we have for the socket, that would indicate more oven. I bad for very tired character. But now that sister shading, we're gonna have you. I'm just gonna get rid of the ice. Okay, now we don't need it. Exercise. Also, you'll see here when it comes the I I've actually shaded across he from the tip of the eyebrow down to the tip, open the I and the reason I did that is because if you ever feel across is a little bit of a fleshy area there on that often leads to, um, shadows and shade again. Depending on where your light source is coming from, another area where you can shade it, this person will not have such a delineated. I don't know what's called, but, uh, the Indian here from the nose math. But if I was shading in here, I just put in a little bit of a educated guess from the top of my lips to the bottle miners in that kind of show us a little bit of shading. Now, a good thing to say here is you see how I have the doctor side of my face is going to be this side. So that means that anything which is kind of curving on this side of the curve is going to be dark out in that side of the curve. Now, when you look at the lips here, it's going to be Dhaka on this side and then it comes down. It's actually gonna be lighter here. Then it's going to be dark on this side. So if you just draw out things like that will help you figure out what it with shading like I have here. And that means that it's also going to be a slight shading right across this area of the math because they just kind of goes like that. And our math is sitting kind of along this area here, so all of that angle will actually be shaded as well. And we have a nice deep indentation there for us. Smile because Scales, actually smiling, said it was having a straight face like we have had in our previous faces, that we've been during just a loan. Now coming around to the math. The math has probably most heaviest pigmentation on your face there. Any difference if this is? As I said, when you have an extremely dark skin character, their mouth will be actually bright out in pink, are thin the rest of their skin because everyone inside is pink on your mouth is leading to your insides. Oh, so what coming through? We want the heaviest shadows actually being in the crease on the corner of amounts and into this line here, what we have in the center of math now, As you can see, it's not straight line. It has a curvature on the lips of this character on, And I really want you to fix on that when you do your mask. That just makes it so much more real now, As I was showing you in the mouth three year, we're just gonna put shading showing the bulbous look of our lips that what I lips look like here. So we want to show this rounding here like think of us. We always think of us via anyone to show how this is coming in the hallway and difficult because it's always start your shading from the darkest side, because that way, you, um, can just work up and get lighter. I'm going to your lighter areas rather than being too dark in your lightest area and then not being able to push it in your dark areas. So I'll it will just get out. Ask an overall pigmentation here before I go further with shading, because her lips will be darker than the rest of the face. Naturally, So already she looks 10 times better. And don't forget when we're shading in our lips. Outlets have plenty of creases in them because they are very flexible part of our body, and so they need creases in the skin on them to be able to move and dual the lovely movements we do when we're talking. So you want to be able to delineate some of these now, don't go enjoy a lifts, so that's a real thes air, really messy collagen lips don't guard and draw in these heavy lines like that. We want to go in with our lives, and we want to go in interest or soft curving lines like this and just shade it this way. Because that way it gives more of a natural feel rather than these straight rigid lines. And never forget that curving off your lips and how they're coping at the time, like at the point of your drawing, see how they could this way in a normal see because they're coding this way around the face . And then when they cut that were in the face. I have my reverse e in my bracket. Now we have a bit more pigmentation, our lips. This is great. You can even go in sometimes if you want. If she's wearing glossy lipstick and just be like Raisa oh meanly, she has a shine to it. That's sweet. And then afterwards, done Alit pigmentation. Don't forget. There's always an indentation underneath ellipse where our chin starts and as the darker side is over, this side on that imitation will have more shading on the left side of the canvas or, I think, for year of the right side of the face. Now my character has a quiet, defined chin in her face just because I really liked the look of it. So that means that there's shop a shading on that area of the chin. Then there is on the cheek. You see how got shop shading live stating shop trading again? I'm just really delineate that and you wanna have shading across your chin? What if she's lit by below? The shading will be more up here if she's a bit straight ahead. The shading will be this fine line of trading just around the external area of her face. Because don't forget, think of this view and whether shading would be from where you're looking at. And don't forget about this jaw line that we are drawing before because the drawer line will always be slightly more traded. Then, uh, the whole of the face. Now we're getting the shading together. Let's talk about more about where areas off the face would be more pigmented. So areas of the base, which will be more pigmented naturally in their skin cover, will be the apples of the cheeks, especially if you have someone makeup, because I will be wearing blush. So if I was to get these plain white and start turning into a great tone to really emphasize the pigment off the character skin. The apple of the cheeks will just have a bit more color or, in this case, a bit more. Turn in it because I'm using great pencil than the rest of the face, because that way you'll be able to delineate some. The pigmentation is another place of imitation is often the tip of the nose. A lot of people go a little bit red at the tip of the nose, on and around the eyes. You'll notice that anywhere in your body, whether it's slight creasing there will be certainly more pigmentation. Then, if it's not so, that's why there's, um, pigmentation and actually Reggie eyes and again, he'll during someone with makeup, think about where that make up lies. So this one has. She has blush on the cheeks. Yeah, she has. Maybe I shudder, which makes it dark over her eyes. She'll have lipstick makes Dr Lips again on, and also, what do you think of makeup? Makeup is actually really good indicator of way. The natural pigmentation comes on your face, so I hope I've helped indicate some areas where, um, you're being actually more pigmented in your face. So I was head shakes around the eyes. Definitely. Your lips make a little bit more pigmentation on the chin, especially if you have someone who's blushing. Shading areas to really focus on is thes apples of these cheeks eyes the nose. Definitely the math and the chin. Because once you just get thes based beaches in which I've shaded extremely roughly for you , you can see that the face starts to come alive a bit more. So I hope you really enjoy this and I will see you in the next video. 12. Styling Hair: Okay, so it was still going to be using the same lovely girls face. And this time, instead of doing up shedding in pigmentation or the brass and shake burns where you're going to go in and add some hair because hair really makes the face. Now this is quite zoomed in, and the character I'm going to do has long hair. But this is more about an indication off general tips and tricks to draw here. So first thing you want to do is find where are hairline is. And on this girl, I'm gonna have a quite high on her head. Uh, and what is going to draw? A subtle line indicating where hailing is now did forget where the tops about use out, which will be in line with, um, eyes. I didn't draw them in because her hair is going to be covering it. But you just want to know where they are, because that is where your heel and will naturally go to. So I've drawn in her hairline here and now I want to figure out what her part is. Now I want to do a side parts on there's gonna draw in there So my part is going to be there now. Hair doesn't grow flat, you hit. So if I had a head, my hair is not gonna be like growing flat hair actually grows straight out like this and then other gets longer, it'll curb down, so that gives some body to it. So when we're thinking about it this way at this front section of hair, which we're going to have because she doesn't have a friend who just gonna have a nice on section of hair is going to grow up and then it's gonna fold over and fuller the contours off the girl's face all the way down. I want to remember that a face has volume to it, so you can see that is grown up out of the roots. And then it's weight has brought it back down. And now it's following the contours of her face. So it comes out of the cheek, comes in at the eye and then slowly works its way down. And it's just gonna keep going because she had really long hair. We're going to do the same on the other side. So it close up, then it comes down follows along with Temple here comes in at the eye, comes back out at the cheek, cars back in around the face because it will naturally want to lie there and keeps coming down. Now just because they grow up like this doesn't mean magically get rid of this headline. This is where all the hairs growing. So if you think about it, you could draw in each individual strand if you want, and it's going to follow a very similar line and becoming up like a rainbow down and around the face. If I did all of them like that across here because indicator what's happening in our face. But that's all that's gonna happen here because we have. Now we know that everything's coming up and down into his perfect fringe area. What about the rest of the hair like, it's not just gonna lie flat to the face that isn't natural. What actually happens is as this is coming up, think about the back of the here that we can see from the front. I'm run out of paper, it comes up in the OC and it comes down. It adds bullying because you have a lot of hair follicles. There add volume around where you've drawn your skull area, come right around. And then it gets thicker here because we have all that hair just coming down is now drawing together. You can follow in the contour of the face and then come back out because the hair is gonna be resting on the shoulder. Now we have a beautiful shape of where the hair is actually going. Toe lie. Now everyone's has different. Some people might be really thick kid s. Oh, in that case, it's gonna go all the way out. But this is just giving us soul indication. We want to do on the same side here. So as far as it goes up here, expected to lease through that from the pot at the back comes down over the shoulder There you have room, actually. Coat come in and add agan. But it just depends how thick it is as to half are you go but out again. So when we're doing here now, we have our base shape about here. We want to work on the shading now shading ahead. This is what not to do. I don't want you to go in like this. It doesn't really look like hit, does it? It just kind of looks like she has a big piece of cloth coming from the top ahead all the way down. What I want you to be able to do is I want you to shake down in the direction of the hair. So, Adam, shading and shading and shading it comes down to say like, you really want to shade in the direction of the hair. Because this way, you will actually be showing all like you don't have to show every hair. Teoh, get the gist of it. For someone who's viewing your work, you just need to show the direction of the fellow, just as if it was a river all the way down the hair and you can see immediately. Now she looks moral, actually, hair and less like she has a towel director of her head. And don't forget how these his air coming up and down from the hairline. So you want to make sure that you're always shading in the direction Oh, where you here is going out. I can't move my sketchbook around because you're viewing it. So it's a little bit harder for me to do my shading. It would be for you up, But you get the general idea now that is actually, one thing I really recommend doing is if you're drawing, move this your sketchbook around. So it goes in the natural direction off your wrists coding when you're drawing. So decides a lot easier than the other side for me. Because that way you will be able Teoh, um, get a much more natural and beautiful floor to during now. This is not by any means beautifully done here. I just wanted to give you some quick, essential tips to get you on your way to be able to draw some. Fantastic. Um, here yourself. Now just kind of just get this fluctuated. Now, one thing you want to fix on his Oh, it's coming in on this side of head. So it's gonna be doctor here. Maybe there's going to be a crease in hit and, like, right in these bits is gonna be the darkest because let's not really getting in to behind the area and notice how I'm still even though I've walked plating it, I'm shaving it all in the direction of whether he is going, so it's still gonna look natural now. This area is kind of a big book of, so we want to add some highlights into it. So I'm just gonna use my race up. If you're on digital media, it's great. You can just go paint in digital. But when I'm racing, I don't want to go straight across this way because that's just going to make it look cartoonish. And if that's what you want, go ahead. But I'm actually gonna come down in the same direction as the strands of my hair to make sure that it's still following the natural projection off how my head goes. Then I can come in and just add some fine details in here. And there you go. I have a little bit of a highlight to May, as is that this is not great drawn here, but it is a good example for you to get started now. The last thing I want to mention about hey is well, there's two things I wanna mention about. Here is it's not just one big mass, you will have little flyways coming off it. So, for instance, on this fringe, and I have just this subtle extra piece of hair coming in here and around here like this because it's like it's natural for people to know have the hair in one clump. So I think about that when you're drawing, if you want to make it meanly, look more natural or like you're during real person drawer, just a couple flyaways in. They could be really, really gentle and fine because because, um, I have fine here, but it will look great. And another thing is, is you can't see Iraq story here. So if you're going in like me and you're drawing your hair after you've drawn and rendered your face, I just make sure that you get rid of them. Ah, final note is, as we were doing our shading before, your hair is still a body of mass, and that is going to impact the lighting off the skin. Sir Francis here, I'll put shading across here across the I a little bit, definitely in the crook of the I, and all the way up here a little bit of shading at the top of the forehead because it's around of it anyway to kind of indicate that the hair it actually connected to my person. And it's not just drawn on top. Now these will be Evolet, stronger shadows here because it's kind of impacting the light coming in on the face. But they'll also be a lot closer to the hill, so you can see that that now oppose it has hair on their getting much more on their way to being a beautiful face. I really hope you enjoyed it. Please. A little. Show me all your fabulous hair cells that you want to put on your faces. I just chose a simple down do because, um, it's really quick and really natural. I could go in and sure you like, How do you do a break? How do you draw a ponytail? How do you draw our guys here? Which is pretty much the same respect. Just remember, the rich it grows, but that's gonna take a lot of time. And I was probably just a whole video series on it. But another air mend is just go find photos of the hair style. If you want to put in your character on research, what it looks like in that way you have a good indicator along with these tips and tricks. Action. You have little here to get on your way to be able to draw here on your cat. See you in the next episode. 13. Plains of the Face: what happened? I'll be back at the beginning of the process again. Am I going to give you even more measurements? No. We actually going to go through and we are going to learn the planes of the face. Now, this again isn't more theoretical exercise. I'd like you to draw this map just so you have it in your head. But this is gonna help you a lot with your shading. Now, planes, the way I draw them is much more geometric. Then you'll actually have a face out. That'll give you a good indicator. Because if you think of it as a geometric objects like a cube, for example, um, you'll be able to be like, OK, well, might keep if the loan is coming from here. Our shade in this area. Much if it's comfort. Yeah, well, I have to shade in that area. Look, eso if you have thes sort of damage combined, Matt off the planes of the face, it's really going to help you out with figuring out how to shade your drawing. And we went through a bit about shading pigmentation in a couple videos ago. But I think that this is really important feature for you're trying. Essere, the first thing that we can do is going and quickly add our eye sockets in the planes of the face of very much connected to the skull. So we're going to be drawing in a few lines that you've seen not measurements. The next thing we want to be drawing in is our triangle for our nose with ah Centaline in our circle. Now I'm doing this all very softly and you'll see why from there I want us to draw in our So I put in the center line just to make it easy for you. I want to draw in, Ah, draw lines that we've been drawing since we started doing measurements work on from here. We were already concert. See a skull kind of coming together. So the first planes, which I'm going to just start from the I because it'll be easier is going to be brow plane . So we have here what kind of kind of segment, Uh, suck it into three shapes, and then we're going to come in and draw are eyelid. Then we have our socket here. So you want to do these across both the eyes. So if you are a game out, you might recognize the shape as a rupee from Delta. And that's a good way to remember your eye. So basically, we have our planes off. Our eyelids are eye sockets and, uh, under eyes. And that will really help because basically, don't forget, I circuits come in and then islands come out like that. So we want to be ableto remember these shapes from side view so we can get the ins and the outs next we're going to go and we're going to add the bridge of our nose. So here we're going to draw a rectangle which comes up from the brow line and it comes down to the middle. Our middle line. I sent a letter to put eyes on. From there. We're going to continue our rectangle down to our no circle and we're gonna have another rectangle there. Then finally, we're gonna come out and we're going to drawer but trapeze and turn it into a Pentagon. And that's going to be the tip of liners from our Pentagon. We can just draw a straight line across here and they automatically have our nostrils. Then We can draw a slightly sloping line here and we have out the exterior part of our nostrils. Come in here. We can draw a triangle down here underneath our nostrils to create the remainder of our nose. And then we already have these lines, he indicating at the side of the bridge of my nose. They then connect up here on and we have to go across here are full nose complete. So it's kind of a complex ship, But you can see here that this is the front. This is the size of knows. This is the basis in those. See, if my lines come from here, I'd have shade in what covers in those sections. If my lines come from here, I shouldn't What's in those sections? So it really helps now the way a nose is structured. If I draw it with these straight lines so we have from the side view, this is what our nose looks like. So this plane prince defy lights coming from the top. This might be shaded in if our lights coming from the bottom, the needs two planes a shaded in Esso, it gives us a really good perspective and understanding off how we can do a shading using this medium. Eso You remember how we drew our triangles for our cheekbones were actually going to draw like we drew around the triangles. We're going to draw a triangle, and it just cut the top of it. So it turns into a trapeze from my nose. The top just cuts off a little bit before our mouth. And then from here, we're going to draw a triangle within this from the bottom of my eye. Yeah, and put a point going down. Now, you see here that these the flat apples thistles pointing in towards the nose so you'd have this thing is going down. Sloping Internet is slipping away from the face. So you kind of get thes different planes of the face, which is what we're doing. This is going really well, then we have the planes connected to our mouth. Enough! We come down, we have. We go in here for the chins and then we come back out in creates Homeister Pentagon about your piece. And now I've got all the planes that brought the bottom of our face. The last thing we need to do is at in our forehead planes, and this is really simple. We wanted to a land from the corner, eyes leading up. This is our nice forehead plain and these are our temple planes. So you're pretty much say if you were looking at it from top View, which is basically just a geometric version off the roundness of your forehead. So we're gonna just use this and quickly shade in if we have the light coming from the top . So if we had the light coming from the top, this section would be dark. This section will be dark. These would be mildly dull. This section would be, uh, the sections of Mali duck that would be like that would be like, this would be home wrist black. This would be dark, but put a line. And now this would be dark. Jaws would be mildly doc, and so would under the apples off our cheeks. So you can see here that that was this a super quick process to work out the shading. Now I recommend, just pending in and creating a plane's map like this, whether it be just a pen and ink one that you photocopy or one which you put on your computer, where you can just go and be like, Well, if I'm lining from here, which is where we lit from, This is what my planes of my face would look like. If I am learning from here, then this is what they might look like. Shaded eso. It's just it's a really handy tool, which I recommend using again. You don't have to draw this map on the face that you're drawing, but it's something which is good to commit to memory. So I really hope you liked it on love to see that you've drawn on this specific plane map and put it on your projects and I will see you in the next upset. 14. Side View: Hi, guys. Up until now, we've been working and creating a face which is just flat facing forward on, and I wanted to quickly show you how to create a sideways face. Uh, so that way you'll be able to at least have a true, really structured understandings off the views of the face. I'm now the reason I wanted to show you the side on his because your features look a lot different. We already know how to draw a year, so I'm just gonna leave that as, uh, just the oval and you can fill it in. But I just wanted to show you where the enemy of structures are and how to destroy or knows I and math from side view, which you may already have a bit of tips and tricks on from drawing, um, the rest of the elements. So the first thing we're gonna do is instead of signing off on mobile, we're going to start up a circle, and this is actually, uh, the big, secular, boldest part of Oscar. Now I'm having my person looking this way, so we want the front of our face to be here from the front of our face, which is this black line which, let's imagine, is the centerline really using For the rest of it, we want to curb up and have a jaw which connects back into the bowl this part of our face. Then the neck comes out behind this on a slight angle. So you can see here. We already have it set up. The neck is about the same size as the chin, but the chin strutting forward. Uh, the Joel line comes up about, uh, halfway to 3/4 into this bulbous area of your head. I'm sorry if I draw a line here, however, 3/4 depends on the person, but normally it's about halfway on, and then we have these straight line, he indicating the face. So those things I want to dio when we're doing a sideways face, even though I want to stop the eyes, tell you what the here is gonna be in the center of the side of your head. So this imagine here is on my line because that's about, um, halfway between the top Fusco here in the bottom, Munchen. And don't forget, that's where it is in the front, and this is where our drawer means in it. So that it's 3/4 a halfway through our circle. So this is where it would be. And where does that? You're sort of the top of it is that the island and the model that comes down Teoh knows which also happens to be Where are George will meet you. So there we go. Withdrawn the Not here. We have that placement already for us. Next, You want to draw I from side view? So we already have all set up for where it's gonna be. That's not going to be all the way back here on the head. And it's not gonna be all the way at Yeah, we want to remember that we have the bridge in those. So we want to just, um, take it back. In this case, I'm doing about Sen Amina. But take it back. Just maybe 1/3 of your our size, They come in in places. I So the I is pretty much of the opening the because there to get from side for you can only see an eye for me. Outside point in the outside point was that neat little lee shape which we created before. Also, don't forget that I to So that was a really bad line, Thea. Part of the eye here is bigger than the bottom part of the eye. And then from here we want to go in and we want to add people and we're gonna be looking straight forward. But you see how eyes actually having a bit of a I think it's convex, a convex shape because don't forget is that I put dotted lines all the way around. Tia, I is a bowl. And then we just want to, uh, go from the plane down here where I also almost meet the bottom both our bottom line, just as we would do if it was facing forward anyone Tocopilla and have Iris talk in underneath our top lid just like that. Now, this is very much ah leaf shape not make it easy if you remember a leave or football and then the people just goes directly in the front and it's the same sort of loo shape like that. And that is how you make a forward facing I, um Then you want ad in our islands, So eyelids come back just in the shape off, uh, big Moldovan I But you notice that they protruding a bit because you've got to remember about the sickness to ask in. So you want to add just a little bit all the indicators over islands, and then they can put in here the crease where island normally meets. Yeah. So now we've got a very nice I. And from here, you can add your eyelashes. Remember when we're talking about eyes, how he said that from the side, they're coping up and up in a way and down in a way, depending where you're going. So there we go magically. We have an eye in place from I weaken, Go do the browser. Imagine our eye socket here. Um and we can just putting up proud. And it's much more condensed in the inner part of the brow and extend out on the side of the brow because don't forget that we have, uh, a round head. Don't forget that I had is also in all of absolutes. Now we're getting to the knows. What we want to do is we go from my brown line, which is out here. We can't in a bit towards I and then just when we're getting toppled it we want to start looking away at again. Now where is under is gonna end. Well, it's going to be hot flight between auction and our island, which also lines up perfectly with the bottom of our idea. So we want to come out. And don't forget, honors is not perfectly horizontal. It does come up a little bit in acute angle away from that. So just before, we're going to get to that line. We want to stop honors and bring it back around back towards the face. Now we want to stop our nose here where we have touched that straight access and you want to start curving out for our lips. Now I want you to work out where you want the center of your lips to go beforehand. Don't forget, I do like to do 2/3 up on the chin so we come out and then we do a shops like backing from middle it. Then we do a nice coving. See for about a lip. The Cadigan fraction in action comes round to adroll never go. We have a sideways space now a good Indicated to figure out where your side of your lip is again. Is the side of your arms could If I go down here, that is where my lip can end. So I do My little matched a kid that we've been talking about bring it into the lips and then I just can come in if I wanted to draw the full lips. Now with my nose, I've just left it as an outline. But the reason I did that is I wanted to get the lips in, therefore you. So now we can talk about how the nostrils work. Now, you see, uh, pupils here, I want to draw another line here. And if you draw all the way down from the front of guy, that is Wigan nose is gonna end. So we want to draw our bracket. Here are Versi indicating where on Australia's and then we want to draw here. I'm just above the base point. A line a very flat whole, indicating the nostril. Now that's kind of coming halfway out from your centerline halfway in. And I just think it's a really simple, really easy way to draw your nurse and then from your brow line. You come back to your forehead on. There you go. You have a side view off a portrait of your face. Um, you can do the same shading techniques and everything that we did previously. With the step by step, I did for each off the different elements of the ear, nose, mouth here, etcetera. And we can add in our cheek bar Joe line and everything like that, Uh, just as we would with the front of the face on, and it will work out beautifully. Now we are going to approach our next video, which I'm very excited about because it's talking about how to take the elements which we can do from a side view in a front view and be able to do any variation off a few of the face. 15. Drawing the Face from all Angles: my guys and welcome back. I hope you're keeping up in these classes. If you have any trouble with anything that we're doing, please leave a comment in the discussion and I will get back to you. Or better yet, put what you're working on down in the product so I can see what you're doing and be able to help you out. Uh, if you want, you can take a break. This is getting more into, uh, more intermediate stuff now. But we are going to be just going through some simple tips that you can use to create a face in different aspects. So we're not talking about facing different aspects. It might be a face from underneath the chin like this where they're looking up. I might be them looking down. So you have, uh, their nose, um, their mouth and stuff in all that kind of aspect. But I'm not going to go through step by step. How do each of these aspects I really recommend using a, uh, reference. If you want to draw a specific ratio to great app search, I can recommend what one is. A website is sketchy where you can go on, and people actually put up their photos of themselves up to be drawn by you. And also, I would recommend going on and looking at photos at on slash which I pretty much mentioned every single one much of Charles, because I just really love that website. And I'm not affiliated with either of these companies. So we are going to go through, um, and see how guides can work when we're doing different faces. So I want you to imagine the head like a sphere. So we're going to just draw a circle. Yeah, So I don't need to put all the guides that we use onto this fear. So we have all center line, and then we have our horizontal centerline, and then we have a nerves line and we have, ah, math line. Those are basically the schedules that we use for our face in the guidelines section. So now I want to do the same thing, but I want to do it 3/4. I'll draw a circle again. Now this centerline and this indolent they actually go and Luke around three entire head. So as I'm drawing a 3/4 it, it's going to come curve around. That's fear, because we're working through dimensionally with a face. It's gonna curb bounce, fearing If I have an imagination, it's gonna doctor, doctor, doctor, doctor all the way around the back and cut it into kind of an Ainge. Same thing here we're gonna cook our Centaline for our eyes are horizontal one around here and then the around the back there. It's easy to get this right perspective if you draw like an oval and get that really natural, curving feel But you can see here that still the same so the exact same face. Then we want a comrade Tia creating a herbals and be like and get on knows line halfway between top and the bottom Both Austria, which where? Indicating as this. And then if I come on here with our imaginary line, he said, that is the center access s. Oh, there we go on those line and yeah, would be on Athlon on. And that is my face. On a 3/4 looking down angle, you can do the same thing, uh, the other direction. So this time I want to be looking up and about here he's on centerline him for the glory of you can think of it as a globe and I have a central access, but that's Ah, center line here. That's a other centerline. And then we're like, Okay, halfway between here and here is my nose. So yeah, it'll actually about being a trying because it's up. But that's why our nose is then our math issue. So you can see here that when you use this globe kind of technique, this field have been popping into all of our classes, it makes it quite simple to try and work out where things are going. So if I just use this fearing was like OK, well, this is my layout. And from here, I only put my eyes here with an eye in between. And then I have my nose in my mouth, comes here so that we my mouth and then just take edges of this global turn into a human face, you know? And then, yeah. Oh, I guess might you would be be here because off the way my globes working. And then my Joel would come down like this and probably flying out here so you can see here that I just took what we were doing here and how it kind of set up her nose in our math. And I just put it onto my three dimensional globe. Now, once you have done this with a globe, I suggest doing it with your over encircle. So remember when we were we were talking about doing our side view face. We had our circle, and then we had a center line. Then we had a draw. So if you think about this way, this could be like a slice of a slice of fruit and then a Fulford. So if you see it from the front, you when you see the slice of fruit, you see it from a side you see a slice fruit in the full fruit. But what if we're looking at it? 3/4? Well, you'd see the slice of fruit, but we also city the full fruit coming in behind it like that because that's where all center line would be. I'm so that's the easiest way to do it. So you can see here that my center line is still coming up across my my sphere. And then I just added Alaska on top of it. So if we're doing this guy down here, we can have our SPEEA and we can do all our centerline work, and then we can just go ad our herbal mask on top of that. Then we're like, Oh, and then the nose goes here in the math goes here just like that guy. It all fits in perfectly, and we even have a draw about Yeah, so you can see here that you can use this table Great technique that we used in are other class to create three dimensional faces. We've earned different perspectives again, I highly recommend it. If you want to draw a face from a specific perspective, look up photos of it online. Because that way you'll be able to see what happens to the shape of the I like friends is when I'm looking up, my eye is an island. It's actually more like a moon shape, Um, and when I'm looking down, it's a reverse moon shape, so you want to kind of see what happens. The facial features as the face moves around. Ah, soak In practice, I highly recommend drawing from reference and recon. Learn all that had raw from reference in one of my previous classes, which are link in the next episode. But I heard this kind of guideline will help you, um, jointed with more three dimensionality in your cartoons and your normal realistic pictures . 16. Practice and Reference: the guys. I really hope that you enjoyed the process off drawing the face and how we went through older speeches and lastly went through how we can use our guides and create a face of a different perspective. Now I want to highlight it again, just in that last bit that we were working with faces as three dimensional objects which they are, and that is really important. Even if you end up during in a stylized cartoon style, which seems to be two dimensional, you'll notice that they still have a rotation that when their head is 3/4 angle, you can tell because of the way that features a placed on the face in the facial shape. Eso just really want you to keep aware of that. If you ever just building a character or drawing for practice. I recommend drawing the same person from frontal view and then interesting angle, because that will really emphasize your knowledge and help you advance in drawing face and also give you a clear idea of this character, which is inside your head. Now. The title of this little video snippet is cold practice and reference, so here actually want to plug in a video Siri's, which I made a while ago here on skills yet which is called gimmickry to Maastricht drawing Portrait's from reference. And I find that this video serious is really helpful. Especially now You understand the basics of drawing a face, because in this video series, I take you through how to use the planes of the face, how to see a drawer in and then replicate that drawing or to see a photograph of a friend and being able to replicate those features down on the paper. I think it's a really helpful class, especially if you want to draw with realism but also helps with stylized works. And it takes you through, step by step, a little more advanced techniques to then went with Gone Through, which were in the face here. So if you want to see that, I will have that very Siri's linked in the description off this skill share class on. If you join that, just let me know. Also, I wanted to highlight the importance of practice. Now when I've been drawing thes different steps for you now, I don't actually need to draw guidelines for my face is, I don't need to draw the measurements. I know my planes off by hot, and I can draw a straight from an eye and draw an entire face because of how often I've practiced all the techniques that I've showed you. Now you might see these amazing artists with these gorgeous works. And don't forget their practice for years. Don't ever feel disheartened when you're drawing that you're not as good as again DaVinci or as good as your favorite comic book artist because they have practiced. They are professionals at this, and they have done for a very long time. And I guarantee, no matter what skill level you are, even if you're still a stick figures if you practice hard enough, you can get to be a mastermind like them. Recommendations I have for practice. I actually link the mall in my other video, Siris for referencing, but one is to take photos off friends and family online and redraw them and get an understanding of where all the features of the face that I also recommend using this great app sketchy, which is actually community where people put on pictures of themselves to be drawn by artists, and then you can share directly with that person that you've drawn them. I'm not an affiliation with sketchy at the moment, but I just really think that they're really great community. And they got great results that some of fantastic some are not. But I find them really with Wow. Also, I would recommend going on to unseal ash, which is a collection off free source images where you can have literally, absolutely anything you type in. You can have dogs buildings What about? But I like typing in and finding on different portrait off people because they're all professional grade photographs. So you get really interesting lighting styles, and that way you'll be able to practice on, ah, high class level of image, and they're old free for use eso. It's really great cause once you illustrate that drawing, it can be yours because the thing you referenced off was free for using copyright. And that's really important to if you're doing a direct replication in an illustration off a photograph or you're copying someone else's illustrations so you can learn the techniques that they did. Always give them an attribution or check that the copyright details off the image because even if you created us from scratch, it's still based off. There's. And if you're going to share it online, especially if you have, ah, funnel instagram account just like give them a shot at, because if it went for them, he wouldn't have been able to create. Also, manage that you did. So that's my little spiel on copyright. But all I want to say at the end of this video is practice, practice, practice and it makes perfect. And I would recommend Teoh double up in your practice. You can practice the medium you went to paint as well as the techniques you want to do at the same time, because that way you're killing two boats with one stone. I personally like doing this with the watercolors and digital medium while I'm practicing or enhancing my skills on doing faces 17. Final Thoughts: Hey, guys. So we've reached the end of the video tutorials. I really hope that have helped you out. But if you have any questions or your mind is buzzing and you're not sure what ago, please leave questions down in the discussion. You can email me through my website which will be linked in this class. And you can also just put your drawing in your projects and just go help me. Also, I would love to see if you do do your drawings, putting them in products so I can just see how amazing artists you. I love the community here and I love to be part off your community s. So if you reach out to be, I'd be more than happy to stay in touch. And we can work together at artists side by side, not just teacher and student. If you wanna see more of my works, I haven't instagram account and a website which are on the screen right now. And they will also be in the description off this veer. Siri's. I'm always here on skill show and I have a new video coming up every month. So if you want a new video series class. Please leave down in the comments what you want your class on, and I will be able to do that for you in the coming months. If you want just a little tip for trick to, I would recommend going to my YouTube channel, where I am about to start up loading a regular series of little tips and tricks to go along with my big skill share classes, which you can view completely for free on YouTube. I really hope you guys have enjoyed your experience. I can't wait to see all your projects, and I hope that you have started an amazing journey into during portraiture. I will see you in the next clucks.