How to Draw Character Expressions (20+ Expressions)

1. Introduction: Hello and welcome to my class where you can learn how to draw various different expressions. In this class, we will eventually draw 21 different characters and we will learn how to express five different feelings. The feelings presented in this class are joy, anger, sadness, surprise, and fear. These are probably the most illustrated feelings out there. And while there are many other ways of conveying each one, I choose to illustrate three different intensities of each feeling. If you are only interested in one of these feelings, feel free to skip around the class because I value your time. If you want to learn everything from scratch, including the and how to position them, then I recommend you watch each lesson. Now, the best way to actually implement what you learn is by drawing yourself. Your assignment will be to draw at least one of the expressions presented in any of the lessons and submitted in the project section. However, if you want to challenge yourself, you should try to draw one expression from each of the feelings presented in the class. You can either draw along with me or create a character and expression of your own. There are so many ways of expressing each emotion. And of course, I couldn't have covered it all in this class. I would love it if you asked me any questions you have, either here or on my social media, be a stranger. You can find me on my Instagram pretty much every day of the week, and I always try to answer my DM's. I'm also trying to create a small artist community and post useful content as well alongside my art. I would also love you forever if you leave a review on this class and let me know how it was, what you would like to see more or less of, or even if you have any topics that you would like me to cover in the future. Thank you and enjoy this class. 2. Basic Face Proportions: In this lesson, we will concentrate on the basics of drawing faces. When you are just starting out, everything about the face can seem easy when understood it, but way more complex than it should be when you are doing it yourself. Let's take it step by step and see how you can draw the head and the face by following some simple guidelines. In this lesson, we will only draw a front facing portrait without any extra details. It won't look fancy, but I just want to explain the basic proportions from the beginning of the course. Always start with a circle, that will be the upper side of the face. You will see that in a moment. If you cannot draw a perfect circle to save your life, first of all, don't worry, it's not that big of a deal. But if you are using procreate, you can simply keep the pencil on the tablet after you finish the wobbly circle. And it will automatically fix it for you. Same with lines, squares, and so on. Okay, you have your circle. Now you need to make a straight line that is cutting the face in half vertically. The length of this vertical line is the length of the face. This vertical line can be moved to the left or to the right. It can be tilted or you can play around with it, depending on the post that you will want to draw. You will see in the next lesson on head angles how you can do that. Following up, we will have two horizontal lines that will cross the vertical line. One should intersect the middle of the vertical line, and that will be the position of the eyes above. It will be the eyebrows line. There's no set rule on how far above the eye line should the eyebrows be. Afterwards, you will want to create the jaw line, starting from the edge of the eye line. Create a short line, just about the remaining length circle that you drew in the beginning. Then create a diagonal line, slightly curved towards the end of the vertical line that will be your character's chin. Do the same for the other side, and now you have a jaw line. Now it's time to work on the upper side of the head. Starting from the eye line, you will create a slightly curved line upwards. You will curve it towards the inside because that's the simplified way to illustrate the eye socket. We do not have a straight line. We have it slightly curved where the eyes are supposed to go. Now for the part that a lot of people are scared of the ice, my trick regarding eyes and the placement of ice is eye socket. First, basically you can draw some ovals. They can be as wobbly as you want in the place where the general position of the eyes is supposed to go. You can then evaluate if you need to bring them closer or further from one another, if one of them is too small or too big, and so on. If you don't spend time on adding details and you first establish the general shape and position, adding details afterwards will come easy. Now let's go and mark where the molt line should be placed. I added some guidelines, the red on the left side of the drawing, so that you can easily tell where you should be placing everything. Now let's add the details of the ice. I won't spend too much time on them since the drawing is only a demo proportions and it's not made to look that pretty. You will see that after I add the details. I feel like the eyes are a bit too far from each other. I simply select them with my lasso tool and I move them around. That's the beauty of digital art. If you ask me, you can correct mistakes quite easily, but you also need to be able to spot them in time so that you won't throw away hours of rendering. We are now almost done, but let's add a bit of context. Let's start by adding a neck and a part of the shoulders, and then let's draw some hair for this guy. I will try to create an outer shape of the hair. Erase the guidelines, and then I will stop for this lesson. If you have any questions regarding the guidelines of the face, let me know through a comment and I will do my best to answer. Now I will see you guys in the next lesson, where I will show you some common face shapes. If you want to jump to the expressions part of the tutorial, you can go watch from lesson five. 3. Face shapes: Welcome back to another lesson of this expressions tutorial. There are a few more things that I want to tell you before we start drawing the expressions. However, if you want to get straight into it, feel free to jump to the lesson five of this tutorial, because that's where we will start drawing the first expressions. I also want to take a moment and mention that because my sketch brush is rather thin, I had to adjust contrast of the video so that you can see my guidelines and all of the subtle details of the sketch. I did this for the previous video as well. If you notice that the canvas is not exactly white, it actually is white, and my sketch lines are not exactly gray. They are, in reality, a dark purple. But because they are way too thin, the recording didn't get all of them. I had to simply adjust my settings. Now you are seeing everything a bit more grayish. Now that that is out of the way, let's get back to our lesson. Whenever we are drawing portraits, we should keep in mind that if we want to diversify our characters, we need to understand shapes. Not everyone has the same face shape. The more you decide to add shapes in your illustration, whether it's for faces, or bodies, or buildings, or anything that you are drawing. The more you add shapes into your illustration, the more variation you will create. The most common face shapes are oval, round, and square. That applies to everything that you draw. These are the main shapes that you will see at any place. Maybe triangles as well, but they do not apply that much to faces. Now let's draw a character for each one of these shapes, starting with the oval. We will keep in mind the guidelines that I showed you in the previous lesson. However, because I want to not repeat the same information as before, I will skip through some parts of the drawing. As you can see, I'm using the circle, the vertical line, and the horizontal line to show the direction of the face. I always do this whenever I start a new sketch, even if sometimes they are wobbly or not perfectly aligned. I usually try to draw fast, sketch fast and simply get into the concept. In order to make the face look oval, you need the face length to be longer than usual and the jaw line to be elongated. A nice curved shape of the jaw line will mostly set the whole shape in this case. Now let's add some features. I have the eye socket now I need to add a few details and create the eye shape that I want the need to figure out a way to draw the hair. I will draw the hair for each of these drawings because otherwise they would look slightly incomplete. However, since it's not the main focus of this tutorial, I will skip here and there so you don't have to waste time seeing me detailing everything. So this is the oval shaped face. Now let's move on to the round shaped pace. We will also start by creating the basic guidelines And at least a vertical line so that I know which way our portrait is facing. Then I will create the eye sockets, the small nose, and the mount. You can see that in this case, I haven't wasted any time creating the horizontal lines. This is why I will have to move the eyes around a bit. And keep adjusting their size until I feel like the way they are positioned is just right. Okay, So I will erase the guidelines now that I know where the eyes are supposed to go and I will start adding a few details For the round shaped face, you can see that the jaw line is not as elongated. The line that creates the jaw line is not going almost. Straight upwards. It has to give a wider jaw line so that you can tell this is a round face. Moreover than that, you can see that the features are slightly more compressed. The nose and the mouth are closer to the eyes, and that gives the face a less elongated perspective. It makes it feel shorter, denser. And that's why we can tell from the distance that this is a round face. Now let's create a hair shape that will the face, by that I mean that I will create a hairstyle that is a bit in itself. In order to create a nice face shape, I want to create a upper side of the hairstyle, and then I want to continue with the ponytail. Let's not forget about the eyebrows. And now I will go over some of the details. This is our round shaped face. You can see me creating a red circle above it. This is pretty much our new portrait. Let us now move on to the final face shape that is square. Once again, we begin by drawing the circle and the vertical line to show us the positioning of the face. Now we will go straight into creating the jaw line, because the jaw line is the most important part that shows the shape of the face. In this sketch, I will draw a man, the first man that I'm drawing in this tutorial. I want to create a larger neck and more defined angles if you want, you can see that the chin is not only one point or a very short line, it's actually almost half of the next size. Then we will create smaller eyes than for the female illustrations that we created earlier. A small nose as usual, because I like to render it. Later on we will keep erasing parts of the guidelines and keep adding some details. Now we will create the character's hair line, because I want to emphasize the shape of the face. I will try to create a hairstyle that is also very angular and almost square shaped. You can see that I'm not wasting a lot of time on the hair. I'm trying to create a general shape and some of the hairs I recommend. Whenever you are trying to create a new character, try to create features that emphasize main shape of your character. That's pretty much it about the square shaped face. Now let's try to recap everything that we went through. We went through the oval phase where you will try to create an elongated vertical line, where you will try to create the smooth jaw line. Then we have the round face, where the features are more compressed, where you do not have an elegatedvertical line. Then we have the square shaped phase, where the jaw line is very angular and it's more suited for male characters. Now let's create a page of the drawings that we have made so far, and then we will move on to the next lesson. 4. Head Angles: All right, so in the last lesson we discussed about face shapes and drew together three different characters based on three shapes. Now you should have a better understanding of how you can vary face shapes. So the next step is to learn some basic head angles that you can draw. In this lesson, I will cover only three common head angles that are probably the most used in regular portrait illustration. But if you want to see more angles, I'm covering that in my older class, part of the Character Design Crash Course series, which you are seeing on the screen in the lower left corner. If you want more details about the head structure, go check out that class as well and the resource provided there. Let's start with my favorite angle, the three by four head angle. As a brush, I like to use Lotus bubbles gesture sketch brush for any sketch that I make. This short sketch section of the video will be a bit darkened so that you can see my soft sketch lines. It will turn back to its light appearance shortly, we will start with the wobbly circle. I don't really care to make it perfect, only needs a guideline. Then we will create the next guidelines, the cross that shows us the direction in which our head is facing. I will then start creating the outer shape of the face, the general position of the ear, and another guideline for the eyebrows. Now I will draw the eye sockets. Not the eyes exactly, but the sockets. Basically, this means that I won't spend too much time rendering the eye shape perfectly. But I will draw some ovals resembling eyes in the places where the eyes should go in time. This trick proved to be efficient, helping me draw the dreaded second eye without too much difficulty. Basically, instead of spending a few minutes drawing a perfect first eye, and then having set up the part too high for the second eye, I instead create a placement for the eyes first and then adding details to both eyes as I go. Like lashes, pupil, lower lashes eyelid, and so on. At this point, the sketch is still really soft. I'm not committing to anything just yet. I'm simply creating a skeleton for my sketch. This allows me to still be able to move things around with liquefy or with a selection tool without being scared of having wasted time on beautiful details that are placed on a flawed skeleton. For the mouth, I like to go for a simple shape without adding too much details yet. I usually add the details with the coloring, but we will not be doing that in this class, we will only do the sketching part. You might notice that the mouths that I'm drawing are very, very simple. Let's add the irises and make her look to the side. Then go back to adding some more details around. Although this is not a class on hair, you can see from my guidelines that the hair is not sticking to the head. It's actually the headline. And then you have some space before you draw the hair. All right? I made some soft marks for where the hair will be placed, but I will only leave it like that for now. I basically want to give her a nice ponytail with bangs all over her forehead and some longer banks around the face. While we are drawing these angles, I thought that we can add some character design into it. Let's make this character some an elegant lady who is slightly surprised to hear or see something. Since she's a lady, she won't exaggerate her expression because she was taught better than that. And that she should keep her emotions in check. Now I want to start working on her clothes. I figured that a nice buttoned up shirt with a bow would be very fitting. I will erase some more of the overlapping lines and start working on some details for the eraser. I'm using a simple round brush because I don't want anything too soft when I'm racing. Whenever I'm racing, I'm basically carving inside the brush that I used to sketch. Liquefy is your best friend in procreate. It's the easiest way to modify a sketch without messing up with the pixels. Unlike Photoshop, procreate is not a vector based app. Whenever you will try to readjust the size of your sketch or finished drawing or anything like that, you will see that it becomes a lot more pixelated since the sketch is a bit more detailed. Now I will soon remove the screen effect so that you can see what it really looks in procreate by now. Okay, we are now back to the normal screen. Basically, I'm not using any more adjustments because my lines are a bit darker now. They are still too soft for the video, but at least you can see what I'm doing now. Let's continue with adding details to the hair. Since hair is not the main potential point of this class, I will skip every here and there in the video where I'm wasting too much time refining the hair and the expression. But if you would like me to create a new class on hair and the comments. Okay, so let me just add a beautiful bow in her hair that will tie her ponytail. I feel like this will go nice with the bow that she already has at her neck. Let's quickly draw the ponytail and we are going to be done with this one. Since portraits are usually rather static as poses, I like to add some dynamism to my portraits through the movement of the hair, as if the character just turned their head, or as if a gust of wind was blowing their hair or something like that. All right, so this is our final drawing of this head angle. Let's move on to the next one. The second head angle will also be in the three by four angle, but this time it will be looking downwards. Let's see how we can do that. We will also start by drawing a wobble circle, which right now is not easy to see on the screen, but it will be short. I'm already at the eyes of the line and starting to work on the outer line of the face. You can see that the eye line is arching downwards. That will be an indication for my later self that she will be looking downwards. Since this is a downward facing pose, you will see more of her forehead, more of the characters top of the head and the lower part of the face, that is the nose and the mouth. They will be placed downwards and they will feel like the distance between them is closer. You see how I'm drawing the nose quite low on her face, and the distance between it and the mouth is very small compared to the previous expression. Let's draw some sockets for the eyes. You can see I'm only sketching some ovals. Now let's see how much of her head we are going to draw, so that we will make this pose believable. Just like before, I will add some banks, let me just erase some of the guidelines since our character is looking down. The banks will almost cover her eyes, they will definitely cover the eyebrows. But even so, I still like to make my eyebrows noticeable even under the hair. But generally the banks in this situation will cover eyebrows if they are long enough, maybe they will cover even the upper side of her eyes, maybe her eyelashes. Now I'm working on intensifying the eyelashes and actually creating the shape of the eyes. Don't forget to add the eye lids. As you can see, I'm drawing the eyebrows on. The hair illustration doesn't need to be extremely realistic as long as you can convey the emotion that you are trying to convey. Let me just select the nose and the mouth and bring them downwards. Now I will sketch more of the hair. In my normal illustration, you can see that I'm trying to add a lot of detail in the hair. I'm trying to keep this practice in my sketches as well, even though I'm wasting a bit of your time right now. But I hope you can get some inspiration from the way I'm drawing hair as well. Let me just use some liquefy to adjust a bit. The pose. Now I will start moving faster with drawing the hair so that we can move to our next expression as soon as possible. All right, this is pretty much our second head angle, the one that is looking downwards. Let's move on to the final head angle. For this head angle, I want the head to be looking upwards and I want the character to be looking down at us. That means I will also start with the circle, but the guidelines of the face, you will see that the eye line will be arched upwards, the complete opposite of the earlier head angle. The nose will this time be closer to the eye sockets and the distance between the nose and the mouth will be greater. Right now, I'm trying to create a skeleton of our pose and then I will add a few more details. It's best not to rush a pose that you are not used to try to create a good skeleton and only then add the beautiful features. All right, now I will draw the eye sockets. I will always take a good look at where I'm placing the eye sockets. And if I want to move them around, this is the best time to do that. Now I'm adding the irises that will signify that the character is looking down at something. Let's erase some of the guide lines. Let's add the eyebrows as well. Because of the pose, the eyebrows will seem closer to the eyes than they would normally look. Let's reinforce the jaw line and start adding some hair. For this head angle, I will go for a short hairstyle. I want it to be a bit bouncy and slightly way. Let me just draw the ear and now I'm going to reinforce some of the hair lines. As mentioned before, whenever you are drawing portraits, they will tend to look a bit static, so don't be afraid to use the hair to add some dynamism. Now our character is starting to actually resemble a portrait. Let's add the eye lashes. Now I will erase some of my previous lines because they were a bit messy. And then I will add them again, adding the eyelids and detailing the here a bit more for this character. I want to actually reinforce her lips a bit. This is what I would normally do when using color while we're at it. Let's actually fill in her eyes as well and leave a small spot for the light. This is our third head angle. Let's create a short summary of the head angles that we have previously drawn. I will have this summary for all of the following lessons. If you want to go back and look at what we have drawn, you can skip directly to the end of the class and just look at this summary. All of these summaries will also be available in the resources section. Okay, that's it for this lesson guys. I will see you on the next one where we will start drawing the feelings. 5. Joy: Welcome back. We have previously covered face shapes and head angles in the previous lessons. Now it's time to really get into drawing expressions. The following lessons will be centered around specific emotions. For each emotion, we will draw three different characters expressing the said emotion in various intensities or forms. That being said, let's start sketching the first character, expressing joy. Just like before, I will start sketching the circle and the cross showing the direction that the head is facing. I will start by creating the skeleton of my portrait. So we are starting from the big shapes and then we will add the smaller shapes which would represent the features of the face. I want the first character to be cute. The closed arched eyes are a way of showing that she finds something funny or pleasing. The eyes are arched upwards and that signifies that this is a funky emotion. This is a pleasant emotion. Whenever they are downwards, it's a sad emotion, maybe an angry emotion. We will see later in the class, I will erase some of the guidelines as I go so I can keep the pose static. The eyebrows will also be relaxed. They will be arched upwards. Now let me just work on her eyelashes some more. I want to keep the eyebrows as arched as possible, and the smile will be asymmetrical, so it adds interest to our portrait. That weight also feels like our character is up to something. Now, I will reinforce the lines of the face. Now I will work a bit on her hair. I will give her short and wavy hair and the banks will be quite spiky. I want the banks to be short enough to show the eyebrows. I feel like this will give her a really young and fresh look. Now, I will work a bit more on her neck line and her shoulders. Usually when I'm drawing portraits, I am trying to include at least the shoulders inside my canvas because otherwise it will feel a bit incomplete more than a portrait. It's rather bust I to make the hair bounce and that we am trying to add dynamism to this portrait. I will spend a bit of time detailing a bit around her hair so that it has a more finished look. And then we will recap what makes this expression joyous. All right, now let's see what is a joyous expression. The first thing that gives it away are the eyes. The closed eyes. The upside arch gives them a happy look even by themselves. Second, the eyebrows are also simple and arched. This shows that there are no frowns on her forehead. Then there's the lop sided smile, which adds a bit of playfulness to the character. That's about it for the first expression. Let's move on to the second one. For the second expression, I want to go for a more shy character. I want the head position to be a bit inclined and the character will look upwards through the corners of her eyes. Just like before, I will start with the guidelines and then drawing the counter of the face, creating a place for the eye sockets line. All right, now let me reinforce the eyes and erase some of the guidelines. Okay, so I want the lower part of the eyes to be rather flat. The inner corners of her eyebrows will be a bit raised. If you were to only take a look at her eyes and eyebrows, you would almost consider this character to be sad. However, the mouth will make the difference as you will see shortly. The subtle blush added to her cheeks also showed that she is bashful. Maybe she received a compliment or an encouragement. You can see now after adding the mouth that this is happy expression. Now let's add to the bangs. To go with this pose, I originally wanted to use the rest of the space for a fluid hair that looks a bit suspended in the air. But then I decided to go the opposite direction and make a short hair with a clean cut and only have a few strands standing out. Don't forget to use liquefy whenever you need to correct some mistakes or when you want to change shapes, sizes, or anything similar. Let's just clean up the sketch a bit more before we create the shoulder line. This is the part where I was trying to create a long hair to cover the rest of the space and then I changed my mind later on. So now we have the short hair and we will reinforce some of the lines and erase some of the guidelines or some of the messy sketchy. Let's adjust the eyes and reinforce the eye lashes and create the eye lids, all right? So this is pretty much it with our second expression. Let's move on to the final one. For this lesson, let's change the direction this character. I draw a lot of these characters facing the left side. Now I want to change it up a bit and make this character face the right side. For this one, I want to draw a character with an oval face that's rather long and with really round eyes and a large smile on her face. You can see that I'm arching quite a bit. The upper side of the eyes, the eyebrows are really risen. They are quite far from the eyes. You see a lot of the irises. Let me just draw the ear really fast. You raise some of the guidelines. This is the most basic joyous expression, in my opinion. A simple smiling face that's looking directly in the viewer's eyes. Here we go with a large smile. Let's just move it around a bit. There we go. Let's clean it up a bit more before we start drawing her hair. As I start sketching her curly hair, I will keep retouching the eyes either with the Lasso tool or with the Liquefy tool to correct some mistakes or with a sketch brush to add more details. I notice class is not related to drawing hair, but I keep spending some time stylizing the character, so we wouldn't just have some bald heads expressions. If you would like me to go deeper into drawing hair, don't forget to let me know in the class review if you would like a new class on how to draw and render hair. Okay, let me just reinforce the eye lashes a bit. I really believe eye lashes make a character look a lot more feminine. Let's never forget about the eye lands and the lower lashes. After spending another minute on the hair, we can then wrap up the further expression and move on to creating the summary. Okay, so this is our further expression. Let's now arrange them all together in our summary. If you have any favorite expressions, don't hesitate to mention which one you liked the most in the review that said with the joyous expressions. I will see you on the next lesson with a new feeling and another set of free expressions. 6. Anger: Welcome back to another lesson. This time we will concentrate on drawing free expressions that reflect anger. Let's not waste any time and get started with the first expression. The first character will be almost front facing the viewer. I try to avoid poses that are facing the viewer perfectly because everything would have to be symmetrical. And that's the most boring pose that you can draw. Also one of the poses that's the most prone to mistakes. You can use the symmetrical functioning procreate to draw one side of the face and the app will mirror what you draw on the other side. But in my honest opinion, the result seems flat and overall not interesting. It looks lifeless and still. And in illustration, you should be doing the exact opposite. Unlike the previous drawings, I was a bit unsure on how to start the first angry expression. So I spent more time on defining the head and the hair until the enough idea came to mind. Whenever you don't have any idea where to start, go for the basics. As long as you have your guidelines, you will know where to place the nose and the eye sockets. Start with that. Usually as you are drawing an idea will sooner or later come to you and you will find yourself sketching away. You just need to trust the process. You can see that I started with the eye sockets and only then start adding the eyebrows that are starting to create the desired expression. After I have that beginning, I will start creating a better conter for the lashes. Adding the irises so that she will look upwards to someone outside of the frame. Erase a bit more of the guidelines. Now I will enforce her eyebrows even more and add the frown around the inner corner. I think I want to make her shout at somebody. So let's draw an open mouth. Now, I will erase part of the sketch and draw above my sketch with cleaner lines and a smaller brush. I will also add some more details to make the sketch more refined. Usually as artists, we understand our sketch even when we only put down a few chaotic lines on the canvas. Because in our mind, we know what we need to be, the end result, or very close to it at least. But if we want to present our idea to others, let's say it maybe to a client, we need to spend a bit more time refining it and adding some details. Spending this extra time will help the viewer understand our initial idea better. For instance, this is the process that I'm using whenever I'm clients. A sketch of the commission that they want. I don't want to commit to a line art just yet at this stage. But I sketch, but I want the sketch to be clean enough so that the client can understand where I'm trying to go. All right. The end result of the first expression from anger. Let's move on to the second one, right from the get go. I know that I want this face to be round. To emphasize that I will create very round eyes. And the shape of the mouth will be arched upwards. You can see from the eye sockets how round I'm trying to make the eyes, the face is very short, the eyebrows will be shorter to reinforce the idea that I want everything to be round just like before. Let's erase the guidelines to make this look more aesthetic. This character will be looking downwards, really angry at something or someone that's outside of the frame. Let's reinforce this spout a bit. Keep the jaw line pretty round at the ear and the neck line. Now to completely contrast with everything that we have done so far, let's make her hair with spiky ends. In terms of symbolism, the spikes can be considered a triangle shape, which signifies danger. In essence, I'm adding to her expression through other means besides the eyes, eyebrows, and mount. Let's add the eyelids and reinforce the eyebrows. Now she really looks mad. Let's go over the eyelashes and as the unwanted lines. In the end, we will erase the ear because the hair is covering it. Now let's go over the sketch again and reinforce some of the lines. Now we have finalized our second expression. Time to move on to our last one for this lesson. This time let's draw a character that seems to be visibly bothered by something. See here I'm thinking of creating eyes that are a bit closed, a mouth that you can almost hear disapproving from, and maybe neutral eyebrows. Let's start with the basics. First, we have our circle and our guidelines. We will move on with the eye sockets, placing the nose and creating a sketch of the mouth. We will go for flattery lines. For the, yes. Let's erase some of the guidelines at the irises and some creases around the mouth and the eyes, eyebrows and a bit of crease under the mouth. I struggled a bit to come up with a hairstyle that would fit this expression, which is why I have tried push it back as far as I could, but I figured I would go with some twin tails. After drawing the hair, however, the face seemed a bit too rough and they clashed. So I decided to change them out into a semi opened position, as if commenting towards someone. I eyebrows as well, into an asymmetrical pose, one of them being lowered and the other a bit risen, transforming the expression into an incredulous one. Now that I figured out the final skeleton of our sketch, let's spend some time detailing it. The sharp eyes are accentuating the expression, so I want to keep the eye lashes to a minimum so as not to ruin this effect. You can see as I progress that I tend to erase the lines that I don't really need or that are too thick. Basically, I'm carving into my sketch with the eraser, and only nice, crisp lines remain. I want to clarify that these are teeth, so I'm drawing a small line on each side of the mouth to show that whatever you do when you are drawing open mouths, never draw. Each individual ends up looking extremely weird in an illustration. Now, I'm almost done here. I will just add a few more details to the hair ends. Pretty much. We can now arrange all three expressions and create a summary of this lesson. Here's the summary of the angry expressions. I hope you guys enjoy it now. Let's move on to the next set of expressions. 7. Sadness: Welcome back to another lesson of drawing expressions. This one we will draw three different sad expressions. I don't know about you guys, but I was personally, really impressed as a kid, whenever I would see sad, almost crying, or fully crying expressions in Anima, and I would always try to draw them and obtain that expression. Now let's start the lesson with a similar expression. I'm choosing to start with a lowered head and closed eyes, as opposed to the closed eyes that we drew in the joyous expression a few lessons ago. These eyes are arched in the opposite direction downwards. To express sadness, I will draw tears in the corners of the eyes, both inner and outer corners. The tears from the outer corners will be more prominent and stream down on the cheeks as well. The head position also gives me the opportunity to draw an open mouth that will intensify the feeling that I want to depict. All right, now let's start working on the mount. Let's draw a hint of the T. When you are drawing the tears streaming down the face, remember that the face is not flat. Try to create a little curve in the stream of the tears so that you can understand that the tears are following the shape, the volume basically of the face. Now let's try to add some hair to tie up this portrait. I will go for some twin tails. Again, just like before, I will use the hair is my main element for movement. The twin tails will have this dynamic flow to them. Remember that since this is a rather down facing head position, we will see a bit more of the top of the head. You can also see that the nose and the mouth are quite close to each other, which also signifies that the head is lowered. Erasing the guidelines as I go and trying to get rid of the sketch lines that I do not need anymore. Now I will start reinforcing some of the lines and keep adding details. Trying to contrast the subtle tears with a rather jaw line. Now I'm committing to this hairstyle, also adding the eyelids and doubling down on the eye lashes. No, let's concentrate a bit on the shoulder and neck line. Now I'm darkening the corner of the mouth and reinforcing the line around the mouth, using like fit to adjust one of the eyes that seemed a bit too long. The eyebrows of this character have the inner corner significantly rised compared to the rest of the eyebrows, so they will naturally create creases on the skin around them. Don't be afraid of adding these details to your sketch, as they can make the expression even richer. I will erase some of the Xs lines and carve with my eraser whenever needed. The first expression is now done. And let's move on to the next one. For the second expression, I want to show you how you can create sadness with the look in the eyes as well. Not only through tears. The head angle is nothing special. However, the way the eyes look even further in the distance is definitely making you think that this character is avoiding meeting someone's gaze. The eyebrows and the small put formed by the mouth indicate that this character is not happy with their current situation. If I were to draw more of the body, I could try to push the shoulder on the right towards the viewer so as to keep them away. Maybe the character could even cross their hands around their chest to show even more the need to distance themselves. These ideas actually started from the eyes and the way they are facing the opposite direction from the viewer. Adding a bit more details to the eyes. Adding eye lashes and reinforcing the iris. Reinforcing the jaw line. Let's reinforce the hair and neck lines a bit more before moving towards the final pose. I will try to adjust this eye a bit and move it more in the middle. I'm using the selection tool for this and now cleaning up the after effects. As always, I'm erasing the guidelines to keep everything clean as possible. Usually, I'm not drawing this clean whenever I'm sketching, I'm usually having a messy sketch. And then I'm coming with a new layer above it and simply recreate the sketch on a clean layer. You can see how the eyes moving away from the viewer can actually contribute to this sad expression. The eyebrows as well are giving away that the character is not feeling comfortable. This is about it for our second expression. Let us now move on to the final one. For this one, I want to make a head angle that's risen and the character is keeping their eyes shut close. In this case, I'm drawing the eyebrows a bit more wobbly. The eyes will be arched upwards, but unlike the joyous expression, you can tell from the eyebrows that this character is not happy. I also added some very small tears in the corners of the eyes. I'm adding these subtle lines for the blush, adding a crease underneath the mouth to show that the character is spouting. Since the head is facing upwards, the nose will be placed higher and it will seem bigger. The distance between the nose and the mouth will also seem bigger, but it's only due to the pose. When we will draw the hair, you won't see too much from the top of the head. These are all things to keep in mind when you are drawing a pose like this one. All right, let's make this expression actually become a character and give her a nice hairstyle. Once again, I will be doing a shoulder length hairstyle. It's easier when drawing these busts. Now let's zoom in and add some details around the eyes. It's always important not to forget about the eyelids. Now let's reinforce the face line, the jaw, the neck line. And let's carve a bit adding some eyelashes and reinforcing the hair line. I like to play around with the line weight. It's always good to have a line weight variation, especially when you have no color and you are only presenting the sketch or a line art. Okay, just a bit more and we will finish with our third character adding a few more details. This is pretty much our first expression. Now let's prepare the summary and move on to the next emotion. I'm hoping that these summaries at the end of each lesson are helpful to you. I believe they are a good visual reminder of what you have seen through the lesson. And you can simply pause the video. If you want to draw by yourself one or more of the finished sketches. I will see you guys on the next lesson. 8. Surprise: All right guys, it's time for another set of expressions. I hope you guys are enjoying the various characters that we are creating. And if you would like to see more or less of them, please let me know. In the review or in the discussion section, let's start sketching our first character from the surprised series. We will start in a classic manner with the circle and the cross showing the direction that the head is facing this character. We will go for an upward facing head with the eyes wide open. And now I'm adding the sockets of the eye. Now let's add the nodes. Remember that this is only our skeleton. Let's guidelines. And then add the slightly open mouth. Now that we have a clean face, let's sketch the mouth. Now let's add the eyebrows and irises. Usually, you can tell that the character is surprised or shocked when the eyes are wide open and the irises are really small. And the idea that you can see the full iris, the frowned eyebrows, will contribute to the expression. Whenever you have round eyebrows, don't forget to draw the creases around them as well. Now that we have our expression a bit more clear, you can tell that the character is taken back by something she seems like she cannot believe whatever is in front of her eyes. Let's draw the neck line and the shoulder line. Let's add the hair. I will go for a simple straight hair line and simple bangs to cover her forehead, erasing some of the sketch lines as I go. Now that we have our skeleton, let's enhance our lines and commit to what we have drawn so far. By the way, during the full class, I have only used one brush. The one that I at the beginning of the class, It's from Lotus bubbles brush pack and it's called gesture sketch brush. This goes to show how much you can do with a brush that feels comfortable to you. I actually tried a lot of brushes for sketching. This one feels creamy, it feels soft. Whenever I need to, I can simply erase in it, carving it, and obtain crisper lines. But of course, this brush is only for my sketches. I have a different brush that I use for a line art. I'm not going to use it in this lesson, but in any other of my classes, you can find it attached in the resources. Okay, so now I reinforced the hair line, adding a few details to the hair and finalizing the bust. Now let's add some eyelashes to make her look more feminine. Erase some of the unwanted lines. Let's also reinforce the irises and the lower lashes. I think in this case, adding the bridge of the nose. Be really fitting. I want to use a bit of leg pi on the side of the face. Let's also darken the corner of the mouth. This is pretty much it with our first expression. Now let's move on to the next one. For this expression, I want to go for a character with a wide open mouth. I will first construct the head and shoulders and then jump directly into drawing the mouth, because I feel like the first thing to catch the viewer's eye. I'm trying to create a more dynamic post by tilting it a bit before drawing them out. Let's erase some of the guidelines. Let's go for a really wide one. Don't forget to draw the tete. Then the tongue and darken the background to show that you have a volume here. Since the eyeline is a bit on the upper side, that means we can only see the top of the teeth. We will only sketch those. Now let's try the eye sockets. As I mentioned before, in order to depict the surprised expression. The eyes should be wide open and the iris should be small. The eyebrows are arched as well to emphasize the expression. We can already start to see how surprised this character is already adding the eye lashes. Now let's do the same for the second eye adding lower lashes. Now let's start adding some messy short hair. And then we will start refining the lines. Now that we have the hair, let's start going around the features of the face and then the face Reinforce the lines and erasing. Whenever we do not need any sketch lines, let' s create an ending for the past and then reinforce the shoulder line. I think for this character, I will color the irises and a small light with the eraser. This is our second expression. I really liked how it turned out. Now let's move on to the third one. I got a bit bored of drawing left side poses, so let's change the side that our character is facing. You can see that in every sketch I'm starting with my guidelines. They are absolutely vital for drawing a good skeleton. This character will be looking downwards to the viewer as if she's a really tall character, but the irises will still be small enough to see the entirety of them. I'm still creating the structure of the head and shoulders and then I'm adding the eye sockets, erasing the guidelines. As I'm moving along, I already know where I need to place my eyes for this character. I will be making the eyes less round. So you can see that you are not forced to draw round eyes to obtain surprised expressions. The eyebrows will be raised even more so with the inner corners. Eyebrows don't necessarily have to be arched to be surprised. There are multiple ways you can depict this feeling. I would say that the most important part of this expression are the irises and probably the open mouth. We can already tell that this is surprised character. Now let's add some hair. I'm a bit out of our ideas for hairstyles. After all of these characters, I will simply keep it short with a straight line. I decided on creating really short banks that are ending right above the eyebrows, but I will add a bit of dynamism to the hair so it can still be of interest to the viewer. Now that we have finished creating the hair, let's reinforce the lines a bit and clean sketch lines. Let's also add the eye lids. It helps to imagine that you will be showing your sketch to a client to motivate yourself to keep it clean and easy to read. As you can see, I use the liquefy tool to adjust the length of the face and the position of the eyes, because I felt like I exaggerated the post a bit too much. Now I will intensify some of those lines. I will go over them again with the same brush. And then the first expression will be done. Time to wrap up the video by creating the summary of the expressions that we have drawn. All right, the summary is now finished. Let's move on to our final emotion. Make sure you watch the last video of this class as well, so that you can have a good grasp of the five emotions that I have tried to depict. I will see you on the next lesson. 9. Fear: Welcome to the final lesson of this class, where we will cover free expressions based on fear. In my opinion, fear is somewhere between surprise and sadness, or between surprise and anger, or at least in terms of illustration. Basically, you will have a combination of the white eyes from the surprise and the mouth from anger, or the eyebrows from surprise and so on. Just like in our previous lessons, we will start with our guidelines, adding the nose as an anchor point. Let's see our first expression. Just to show you what I meant earlier with a combination, let's draw the closed eyes that we have previously drawn in, the sad expressions. But combine it with angry eyebrows and mouth. Let's erase some of the guidelines. The mouth will be only semi open. We will see the T. Let's add the eye lids and creases around the eyebrows. Let's erase some of the sketchy lines and create cleaner ones. I think it's human nature to shut your eyes for a second. When you are bracing for something bad to happen, you are tense so your eyebrows naturally and you clench your teeth expecting the worst to happen. This is exactly the scenario I tried depicting with this character. Reinforce the lines of the hair end of the face. I'm working on the hair line right now, just like before. I'm going for a simple hairstyle. I'm trying not to take away from the expression, but I'm also a bit out of ideas for interesting hairstyles. But that won't be an issue because that's not our focus on this class. If we want to add some extra details, let's make this character tremble by making these shaky lines on the sides. Now let's add some details around the eyes, Like eyelashes, eyelids creases. That is pretty much it. For the first expression, we kept it rather simple. Now let's move on to the next one. For this expression, I will try to make a front facing character. I mentioned in one of the previous lessons that the symmetry of front facing portraits is boring. We will try to get over that obstacle by playing around with the hair and the mouth. We will try to create an asymmetry from whatever we can. Let's start by making the banks a bit more asymmetrical. I spend a bit of time here before I move on to the actual expression. You can see that I even added the clothes around the neck. Okay, so now that we have the outer appearance, let's start drawing the eye sockets. We will make the eyes wide open and the irises will be small. Let's draw a small nose over here. I want to make the outer line of the mouth and the teeth clenched. Now let's go for really small irises. The eyebrows will be similar to those that are expressing sadness, with the inner corners going up. Let's reinforce our eyes a bit. Let's work on those lower lashes and clean up the sketch. You can see that whenever I'm zooming in, I'm trying to erase the sketch lines that I do not need anymore and reinforce the lines that I want to keep. I think it would be a nice addition to small tears in the corners of the eyes, not the eyelids. Adding these dramatic lines to show the fear, They are usually used in manga or in comics to show that a character is scared of whatever they are seeing. Now let's reinforce some of the hair lines. I think I want to add a bit more details at the middle of her banks because I felt like the ship was way too oval. Using a bit of liquefy to correct the proportions, you will see me sometimes zooming out to see how the character looks from far away. Because after zooming in for a while, you lose the idea of the big picture. Let's add a few more details on the hair, reinforce the jaw line, and add some hatching to the back of the hair. This is our second expression. Now let's move on to the final one. I think I want our final expression to be a bit more cinematic and have a more complex pose. The shoulder will be upwards, there will be more dynamism. I want this character to seem like it's jumping backwards from whatever is endangering her. The head is slightly tilted backwards. The eyebrows with the inner corners are highly raised. Eyes are wide open and just like before, irises are facing downwards, but you can see them entirely. I'm already adding the eyelids and the lashes, so you can tell that I really like the pose. Now I will draw a dynamic shape for the hair and start drawing the smaller details like individual hair strands. The last few characters that we drew had quite simple hairstyles, but I think I really fell in love with this pose. Since I added so many details without needing too much time. The mouth will be a bit open and I will fill in the corner of the mouth with a dark color. I want to add some details like small tears in the corner of the eyes and sweat drops on the face. These details are adding more drama to the pose. Adding more details to the hair, reinforcing the lines. Okay, so this is our final expression. Now let's make the final summary of this class. These are our final three characters. I hope you enjoyed the various characters and ways of expressing emotions. I hope that you were inspired to create your own or exercise with the ones presented in this class. I will see you guys in the final part of the class where we will also discuss the project that you should work on. 10. Final words and project: Congratulations for finalizing the class. We have gone through five different emotions and we drew over 20 characters. I hope that the content of this class were useful for you and that you picked up some new ideas, tips or tricks. Now, the best way to actually implement what you have learned is to draw by yourself. Your assignment is to draw at least one of the expressions presented in any of the lessons and submitted in the project section. However, if you want to challenge yourself, you should try to draw one expression from each of the feelings presented in the class. You can either draw along with me or create a character and expression of your own. There are so many ways of expressing each emotion and of course, I couldn't have covered at all in this class. But you are more than welcome to try and come up with something new. I will love it if you ask me any questions you have, either here or on my social media. Don't be a stranger. You can find me on my Instagram pretty much every day of the week, and I always try to answer my direct messages. I'm also trying to create a small artist community and post useful content as well alongside my art. I would also love you forever if you would leave a review on this class and let me know how it was, what you would like to see more or less, or even if you have topics you would like me to cover. Thank you so much for watching. I will see you guys in the next class.