How to Draw Ears for Humans and Monsters

1. SS Intro Video: love one. I'm Robert Marcelo and welcome to my class how to draw ears for humans and monsters. In this class, you'll learn the terminology and anatomy of the year. You will learn basic shape memorization to make drawing the air without reference, much easier. Then we'll draw the ear from the primary angles and finally go over some rendering technique. This will lie to really see the year in a more dimensional way and avoid drawing flat point forms. Then we'll move into drawing the monsters. This is a fun way to explore a variety of ideas while implementing what you have learned about human ear. This is also your project files, so please enjoy the process and create so imaginative fears of your own. I love to see you come up with thank you very much for considering what class is more on the way real soon. As always, keep drawn, keep having fun and bye for now, 2. L1 Anatomy of the Ear: Welcome back, everyone. So now we're going to draw the ear, and I can I want to go through some of the terminology and it's not really that big of a deal, But I think it helps you to kind of remember parts of it so that if you're not, you know, maybe thinking about the terminology of the year than you know, potentially. Maybe you just draw whatever the shapes you think you remember. But the terminology is just another way to kind of identify with, you know, these parts of the whole. So what I'm gonna do is first draw out. It was just a primitive idea of the ear. So we'll just kind of go like this like this. And I'm not gonna explain too much on the drawing process yet because I just want to get this in place and we'll talk about the again, the terminology of it. So let's say something like this. These were probably the major ideas of the ear. It was something like this. Okay, so there's our basic rudimentary crude, really weird looking in. And so now I'll show you the areas that I first kind of struggle with. Okay, so, uh, you know, knowing where to place this, which this is actually the anti hill ical fold. And forgive me if I mispronounce a something you're always welcome, Teoh. Check it. But I'll try to at least get the spellings right. So you what? To look up anti. Okay, Cuticle like that fold. Okay, so that's just this area right here. Whether or not it's the inset of this bend right here or this mass here, I couldn't tell you. Honestly, this isn't isn't something that I'm extremely aware of, but I know it's this general area of the year right there. So the other part is, you've got the helix, which is the overlap of the year right there. So that's pretty easy, Helix like that. And then we've got the anti helix, which is down here. So this appears to be more the top surface of this fold. Now, this fold can come down here, go like this, visitor Anti helix, right? That and I'm not gonna get into every aspect cause, you know, the weird thing about the body is every single specific area bend anatomy. Everything's got a different name, right? So I'm just going to get kind of the main part. So the main parts you're typically going to draw so right here or that pertain to you drawing them Well, I should say so. If we go to here, this is our, ah, outrageous triggers, Travis, I don't know that could be said any other way, but it could be, and then anti triggers. So you see, there just kind of apart from each other. So anti Travis like that and C we've got the helix, anti helical fold, anti helix, external auditory canal. Is this opening? So that's external auditory to know. And, of course, a drum weird line. Three year to year are low Bela lobby. Lay low. Be lovely, Low Bill. I don't know again, you're gonna have to check pronunciation. It's always gonna vary anyways, depending on who you're talking to and how they speak, I guess I always think it's a good thing for you to check your own, you know, pronunciation as it goes there. So those are the main ones I want to talk about. You know, we could get into mawr. I think there's a few different names going here, but these are primary shapes So the reason why I want to go with these ones is the primary shapes are the fold that you're going to get here. So again, you're helix. I want to be really careful about that. We're gonna talk about, you know, I guess the anti helix would be the top service and anti theft I helical fold would be the bend here. So it's all kind of the same thing. And this is Ah, this is probably the area within the art that most people get wrong. You see, I've still got it misshapen here. Now this does change dramatically with different characters, but it's pretty much a tough is area to get right, I would say, And then as we come down with the helix and it kind of bent end it ward. Here we get the shape of the year here. There's kind of this weird transition of what happens here. So this part goes into the year or into the inner cavity, I guess of the year. And then it kind of comes down here, get this weird little bump the trade is, and then it comes back around like this and this This is wildly different from person to person. Um, but the main thing is that the let's see, let's call this the anti helix that this comes down and up and connects to the anti trade. It's like this. And then right here, this line comes down and kind of blends office. This is where it gets a bit confusing, and I kind of miss illustrated it here for a moment. But eso this comes inward around this one can kind of, like dissipate, and these can kind of kind of blend together. But I've seen some people that have a more noticeable bend, right, there s So you're gonna you're gonna study different years to kind of find what consistencies you see. But the main thing is that you just you're aware that, you know, there's a lot of different forms in here, and then you're probably going to do some kind of shorthand toe what you like to draw. So, for instance, if I was to get rid of this, I was seeking to a screen grab of this and copy this and draw or whatever you want to do. But I was to get rid of this and now draw just from memory. I'll just show you how I draw years. Okay? From what I have from, you know, kind of this perceived memory that I have of it. So I do this, I get that trade us in there. Anti traders. I just kind of do this. I draw this, we're gonna get into the shape memorization next. But I draw this. Why shape in there? That's what I see in there. And then I draw the bump back here. So actually, we need to stretch this over more. So in this bag and this line comes down here again, I'll draw that little been there. So it's kind of the same, but it's it's a little bit different form or skewed. And this is just the way that I draw it again from memory. Now it's it's actually a little bit shifted. Just noticed that I shifted even a little bit just from drawn that for a study, and that's that's okay. That's exactly what studies are meant to dio. They're meant to rain you in on what you think is there and start having you Ah, changed that definition with what's really there. And, you know, depending upon what you're going for. So for going for a more stylized field, then maybe shifted with some angles, I'll tell you honestly, a lot of times I even take out that little insect right there and it just simplify it because I want something that reads just quickly, you know, I don't need ah, a photo realistic here for what I do. So that's pretty much my shorthand version of the ear. And I might do the little bends here, a couple of wrinkles, but that's pretty much it. And then I'll start to shade it in more heavily in areas to print, make it more pronounced, and sometimes I'll do that little bend right there, but just little shadows like this, and then these air fold. So if I want this to read more rounded, I'm gonna do some line work. We'll get into that a little bit later, but now what I want to do is I want to show you the shape memorization that I do to do that . So now you've got a basic idea of some terminology and some of the shapes to look for, but I'm gonna show you shape memorization, so let's head over to the next lesson and talk a little bit about that 3. L2 Shape Memorization of the Ear: okay now for shape memorization. So you're probably thinking What? Goodness, Robert, Just an ear. Do you really need to go into all this? But yeah, you know, it helps. So one of the things that helped me get past always drawing ears and correctly and not saying I've got it perfected, but is the see why methods? So you're going to draw a C and a wife like that? Okay. And that's, you know, that's a near there we go, we're done. So let's move on to the next thing, you know? So basically, what we do here is we elaborate from this. We start with the see why we get the entire the helix and case that he looks goes pretty much all the way around. So it could kind of be said that it's just another see really inside of there, and then the why we're going to distort that a bit. Now, if you're going with the comic style overly animated, you really could just go with that. And it's gonna look pretty darn close just by adding basically depth. You know, some form by adding a line to each side. But if you want a little bit more realism into that. You're going to start to shift it so it basically curves mawr this way it extends and gets wider here. So this is again, if you want it toe appear a little bit more convincing. And then just remember, as it rolls down to here, it's gonna connect and give that little bump for the trade is or is it the anti traders and then the trade? This is gonna be this point here. Now, before we get into all that, let me go back to the simplified shape because I want to show you one more simplified shapes. So you get the see you've got the next C inside and sat to just establish the depth of it essentially. And the other thing is that you kind of have this heart shape here. Okay, so just remember that, because again, all these little shapes make it a lot easier. So see why, in a heart basically, um, heart, see why I'm trying to think of a way where it's more memorable, but but basically what that is, is your outrageous right there and the anti outrageous that comes up in around like this Okay, So just again. And let's bring this over to the side. Its competence, because it's it's pretty simple. But I just want you to really focus on memorizing this because it will help you when you go to drop again from memory. You don't want to have to sit there and always look up reference. And if you do this, not the reference is a bad thing. Don't ever think that I'm implying that. But what I'm saying is for speed and for doing the stylized work do you like? You can just remember the shapes and so you could almost say there's another V right there . But that's really still the why. So we're gonna go with the why there. But we're gonna add more dimension here, you know, and keep in mind to You can really explore different shapes here. If you want something more realistic. Some areas of the role kind of diverge offer, you know, create another. Been there. You know, this consumptive times come back really far to the to the helix. So just again player out that And if you want something more realistic, you're probably gonna do that insect bend in here and then you're going to come down and connect to the traders and then the anti trade gihs. And remember that this will long, you know, the Penan on. I don't know what this is ever different, but it will connect to that. Why? Basically. But the strange thing about ears is there so wildly different that I guess I don't know without, you know, putting a bunch of them side by side and doing a bunch of studies. What things air consistent, what are different. I'm pretty sure that all the terminology that we went through in the first lesson is gonna be consistencies. And that's why it's deemed terminology and anatomy of the ear, because it's a consistent kind of, ah, thing that we can count on. But again, there's so many differences with the ear that if you're trying to get more realism and more character to your your illustrations, you're gonna apply like little bumps and little bands, and you're gonna shift things just as you go. So you see, that's what I'm doing here. I'm just trying to make this look a bit more realistic and essentially just give it more character. So will Bend in there. The shadow that you get from the opening to the air. And actually, I think that would be appear. What? No, what you do? You still get a little bit of shadow on here. And then what you're gonna do is just kind of again try to adieu shading at some depth in here and then round out these forms. And I think it makes more sense that this will fade off like that. It's more correct, doesn't it? Okay, so let's softer Racists again. Get rid of all these ugly construction lines and use a little bit more confident lines. Remember for confident line making, you're just gonna try to flow through it. Obviously, with something like the here, it becomes a little bit tricky since there's always Benz so great. Ah, great practice here and again. If I want this to look more realistic, I'm going to purposely allow there to be some imperfections and some different bends. Anyways, I'm gonna let this kind of flow around and, uh, purposely throw in some my inconsistencies or some variation, I guess. Um, so now what I'm doing, I'm trying to think about the depth as I apply these lines because the next part would be the shading. And another thing that you see two with ears and the way that they bend is you might want to show a line coming in front of like this. So this kind of helps to illustrate that effect, where not only is this curving around, it's changing in shape. So if I don't have this line, notice how get rid of us and show you the difference. Knows how it just looks a bit more smooth and like it's this overly, even distribution around like this. But then with that line there and get back to it, it now looks like it goes like this. And then maybe it's got a little change in dimension there. So just keep that in mind at that scrolling kind of line. Conduce that for you. It's amazing what you can really conveyor, just with just with a few lines there. So maybe, like a been like this again. I want that inner ridge kind of right here. So this is me trying to do something a little more realistic, but notice that all works off these basic primitive shape. So this is your shape. Memorization will now get into shading this a bit more. Try to make it look a bit more realistic. And then we're gonna get into doing some different variations to this and exploring similar ideas and obviously some different angles because you can't just drawing air from the side . That would almost be pointless, but this is the best way to study the details of the year. So with that, let's move on to our next lesson. 4. L3 Rendering the Forms of the Ear: Okay, so now to shade this little guy. So, basically, why would we do this? So, for instance, if you're just a lion artists, you might say, Well, that's all I really need right there. I still recommend it, even if you're going to do basic Leinart. So maybe you're more into cartooning than you are into full detailed illustrations or whatever. I don't know that they require different terms there, but you know what I mean. So detailed versus, Ah, a little bit more simplified. I still recommend doing this. So the basic reasoning is that you're trying to really get this stuff into your brain box and say, You know, I know where these shapes go. I have memorized the complexity of the ear. You know, good luck on that, right, But but the main thing is that by shading it, you kind of do that. So one of the things I do a lot is I sculpt and you know there's different versions out there. You can even use just actual putty. But I sculpt with Z brush and I started with sculptress, which is a free version of Z brush. So this is for digital artists So if you're not digital, then that just means going picking up some some clay or putty from Hobby Lobby or whoever's got it. But but basically, I still think that any of that and all of that is important because it makes you see things more dimensionally. And that's what we're trying to do here. We're trying to convince the viewer that there's depth on the page. Eso first we had our shapes of shadows. To do this. We've got some line weight which helps to convey that. So there's some thick that then going on there and then next would be, you know, we could paint and values into a value study, or we could just do some some cross hatching. That's probably I'll do here. That's that is well to here. So I'm just gonna introduce some real thin lines here and there just to kind of convey, uh, some surrendering, some shading. So what I need to think about is that this area here is recessed. Okay, so this is an inset to the ear, So I want this shadow Teoh, hopefully convey that that this is shaded into the cavity of the ear, but then as we get to this other parts, like, say, uh, anti helix. Here are I guess maybe we'll start on the anti helical fold and we'll shade up now, So let me get rid of this because it's almost looks like a value adjustment. What you see, that adds to it is wall. So you could just shade with value if you want, But but for this particular exercise, I'm actually just gonna do some lines. But I'm gonna try to curve these and go up on the side there just a little bit. You see that shape? That shading actually gives me an idea where to put him. So sometimes I will actually combine these effects. And same thing I might just notice I'm going right through the line here because it makes you trying to make that look like a softened up transition so I could even crosshatch through that and again, I'm trying to soften up that line. We got to remember, a line basically just signifies like an abrupt end, so it doesn't really convey curvature really well. So to do that, we want to, you know, cross had your add value or whatever, but so again here. I kind of like this I can use. This is reference and, you know, notice that I'm not too worried about making all the lines in one way. I can vary up the way that I'm utilizing these lines. There's no rule rules here. But the one thing is, this area right here this again is a recess. So I want to show more shading inside this area again. I can cross hatch cheese doesn't matter, do whatever feels right. I do like curving them. I feel like if you curve the lines, you're going around out those forms and it's gonna look a little bit more natural. And again, this is going. Let me just show you what I'm thinking of. As I go to work into this area, I'm picturing that it comes up and maybe the highest point is about right there. Then it starts to dip down. So that's what I'm thinking mentally, as I try to you know, because right here it could basically just be erecting over. It's nothing to rounded or dimensional. But if I think about that going into what I'm getting ready to do for the next stage, then I'm gonna be a lot more likely to kind of nail that now. If you really struggle with this again, remember that you could incorporate a little bit of value first. And that could be a shaded pencil. It could be, ah, marker on erase herbal color pencil and obviously digital, it's pretty easy. We just incorporate a layer, but you can add that sheeting first with that layer. And then when you go to do this part, it's a little bit easier. I also want to get some shading on the top of it because we're gonna have a little bit of drop shadow from that helix. So that's what you see me doing right there. I'm just having a little bit of shadow right there. So I'm thinking about the round over, and I'm thinking about some light source as well. So here I want this to be again. This is a recessed area. Someone ADM or lines. No, some just kind of tapering those lines. I'm using multiple passes to feather that line just to get that that I just don't like flat straight lines on, You know, I might do some right here. You see, I say that and I turn around, do some flatlines, but I'm doing them with the taper lines. So that's why I can get away with that same thing, some shading over here, little bit of cross hatching there and notice again that I'm just really varying it up. I'm gonna soften up this transition here. Maybe a little cross hatching and maybe a few little round over lines right here. Now, this is a bit much. Okay, so this is just a near shot. Basically, it sounds funny earshot, but it's basically in earshot, and it's Ah, it's not really, you know, we don't need to add this much detail, but for your studies, I think it's important to kind of overwork it because you're again. You're trying to memorize these shapes in these forms. Uh, you know, if this is something you really struggle with and you put this on the side of your art table and you pay attention to it for a while and I can't stress that enough, there's, ah, parts of arm anatomy that just Bible my mind. And I got a drum over and over and over again, and one of things I do is, I place those next to my our table. You know, once I've got those down and I feel confident with, um I can pull those away from, um, that area within my studio. But that's that's something that I dio eso now again, maybe some lines on the very bottom of the was that the low Bela things are lobe your lobe , But maybe I'm just over pronouncing it s Oh, yes. Oh, a little shading from the but your cavity Here it's like that and we're gonna have some shadows and here, So I'll just use some some basic lines in there, Maybe across natural bed. Just remember, you know, as you cross hat, you're basically just trying to create more and mawr shadow. So if he had 1/3 row of crosshatch, that should make it a little darker. And if you need to go back, you can dark in some of those initial lines. Be careful not to make it look just like scribble, but I don't know nothing. You don't take anything off the table there. It just depends on what style on a factor after. But again remember that you don't just have to apply one type of cross hatching or shading to your work. I think we could put a little bit in here because, you know, we just don't want this to look like it's it's flatten here. Were have already rendered enough of this and what is, well, continue on with this and tried. Teoh showcases much depth and curvature as we can. Something like that. You know, I'm just kind of randomly picking spots. So I'm going off what's there? And I'm just kind of, you know, making some executive decisions on what I want to see here. And obviously, you're gonna have a bit of a darker shadow here under the year. So I think it makes it makes sense is this would be darker. Eso It doesn't contradict the shading on the bottom of the lobe here. So we take that it's gonna fill that in. You better look a little bit better. Yeah, just to push that away from the page. Actually don't like the shooting at the very bottom, so get rid of that and they have folks. So we've just kind of given this here a bit more dimension and you can obviously keep going and going, uh, you know, you could really just elaborate this shading as much as you wanted. You could combine value with this, which is a nice look as well, eh? So hopefully this gives you an idea of how to draw in shade. The ear now we're gonna do is drop from some different angles. So obviously, just having a side shot is nice. This gets us the basic understanding of the year, but we need to be able to draw from the front from the back, and then we're gonna get into some more creative expressions of this. So with that, let's move on to our next lesson. 5. L4 Drawing the Ear From a Front View: Okay, so now let's go and draw this from a front view. So from here, I just like to think about it first at the angle away from the head. So let's just draw a line for the side of the head of the face here. And let's think about the angle that the ear resides and something like that. Service it be our our distance or angle away from head, and it converges more at the bottom. Eso Let's try that, and then what I like to do here. This would basically be the helix, but from the front view, we're going to see it taper inward and connect more to the side. Something like this. So so think about this like a dish shaped first off. Where to do this? A very crude, rudimentary shapes. Let's say a disk here. Bit of a triangular wedge, triangular shaped their well says like a slice of pie. Tell him hungry and then you know that's that's the very primitive shape. But then what happens is the ear, depending on the character, rounds out kind of meats around like this. So eso sort of like this tilted this shape. If you're to draw a profile, but we've already kind of covered that. But it also doesn't come down just, you know, straight and clean like this. Maybe some years, but have our time saying always with any type of ear since there's so many variations. But let's say that it comes out. Bulls back in and then down here, it means they're lobe like that. And so now we have to remember those other shapes we talked about. It was probably a little bit far away, but, you know, you're gonna get some hair that's gonna cover this as well. So you know, it just depends again on the character. Not everybody's ear kind of sticks out that far away from the head. Eso Let's remember the the inner part of the ear. It's gonna now show more. So this is that. Why shape that we talked about? And so now it's going to protrude out. So it's gonna look more dramatic as it comes out to overlap the helix. Here, it's gonna like, you know, look like it's more curved because of the England, which we're looking at it. Here's that little dip in the why, Um, here's Thea, the tray gihs. And then that curve that we get in the anti trade is so just like that. And you see Well, it's pretty messy. Have got some sketch lines here. Let's get through this. Clean this up with a soft to raise. Let me scale this up. And when we refine it a bit So I'm gonna keep this pretty stylized for these representations now because it tends to be what I draw anyways. Now, remember, if I wanted to be more realistic, I'm gonna show that bend and word right here. But it kind of gets hidden. So it goes like this from this particular view anyway, So I'm just gonna go ahead and again, stylized this a bit, and this is gonna pop out right here. Something like that. It's gonna shade the Seine rather quickly. Pretty little shadow right here And then, depending on the character, sometimes this will be outside of that. That area here the was the helix. Get him for getting in the terminology. Let's just go back to our original sketch here. Anti He'll ical fold. Okay, I wonder. I forgot that one. I'm gonna purge any information. I don't think I need, and that's that's one of those things. I don't know how many times I'm ever gonna use that, but But there it is. So as it comes as the helix comes behind theano tie, he lickle fold. You see from this, let's just put these side by side. I think it'll make more sense. Okay, so you could see, as as it starts to come out and come in front of that, that he looks back here, it's gonna be more pronounced. Okay, so from the side here, you're going to see more of the spacing from here to make this look more dimensional. You're actually going to eliminate some of that spacing to show the amount of depth and, you know, space that this occupies? I guess so. You might get a little bit of the line that comes back around from here. And as you get down with Loeb, if you're doing a more style as character, you could probably just do a quick curve. If you wanted to be a little more realistic, you might do a calm pounding curve and have it dropped down, you know, play around this, you might move it back a little bit. You might do any number of things, but play around with those shapes. And then as it comes into here, it's probably safe to say this wouldn't be a straight line. So you could play. I want This is Well, you could say for a stylized depiction, you might just do something like that for really cartoony kind of fact. You might just go like that for something very cartoony, but for something more realistic, you're gonna kind of imagine what some of these Ben's might do. You know, you might get a bend right here. Just little things like that. Now, again, this is gonna be for somebody who's ears kind of pop out away from the head. More some people, it's a lot tighter. You might just go right from here to here. Let's try that as well. So again, I'm always kind of varying up the shapes and testing things out at this stage to kind of figure out type of look I might want to see. Is this a character I'm developing? Am I trying to make somebody look more realistic and my working on a portrait? Then obviously all these things kind of move around and different things happen there. But ultimately, this is how I would draw my stylized here. And I think for this one over like this, So let that really ah, kind of pop behind the traders. They're pushed behind the traders, and it kind of makes sense that it would do this anyway. So you see this, this fold coming back here. But then, you know, if you imagine it from this perspective, it's gonna probably not be that evidence outrageous is going to take predominance from an angle like this and just gonna get something like that. Remember, On that one we rendered, we had another fold right here, so you could put that in there if you like. We also had another break right here in the top of this. And I don't know if it's still called the anti helical fold up here. But again, if you wanted some of that, you put that in there. But this is really the simplified version that I use. The main reason being is that it's it's easy for me to commit this to memory. I can quickly draw this in, and, uh, at, you know, hair to my character and do whatever else and move onto the next thing. So there are those times that you're gonna do a shorthand version of your art, and that's basically what this is. So I'm not gonna render this one out. We're gonna go ahead and move to the next polls, which will be the back of the year. And then we're going to get into doing some stylized versions and talk a little bit more about that. So with that, let's move on to our next lesson. 6. L5 Drawing the Back of the Ear: All right, So now for the back of the year, let's kind of start with the same basic principle we talked about. So does shape from the side, which is gonna look a bit more like a box and then a slice of pie gotta love those slice of pie and the back of the head. And then so from here, we're gonna just kind of figure out the round the rounded back of the cranium cranial mass and then pretty much the neck. And you depend on the character. You might see a little bit of their defined jawline. Something like that. This year is actually pretty big. Let me skill that down just a little bit. Bring that down a little, Okay? So just to start with this primitive concept of it, So what happens here, I think, is that since we're not used to drawing or even looking at this part of people very often, not paying attention to it as much anyways, we tend to just forgo what's really there and, you know, imagine a little bit more. So if you're trying to be more realistic, you have to think about the way that Thea I guess this would be the back of the helix and forgive me because there's probably more names to even the back of the year. But I want to get too much into the anatomy. Just talk about drawing the shape. So what it's probably going to do, though, is if you're going for something more realistic, it's going around around the connection point. So you know you're going to see the way that it curves around there now for the back of the ear. It can do all sorts of crazy things. So I don't know that if you draw 10 different years, you're gonna get anything that looks too close to ah, the rest of them, that's all. Just so you know, wildly different back here, but basically the cartilage and scanner, the way you know, whatever this is actually called, it just starts to fold and bend more. So as the area kind of comes around like this, you're gonna get a lot of kind of wonky bends in there. You're gonna get a dip down with the lobe. Even the back of the ear will have, like thes weird kind of angles and pockets. They're not usually too overly defined again, depending upon the character you're drawing. But it's it's helpful to know. Just pay attention to it when you create your studies. And so now if we're to redraw this again, this is something that would look a little bit more realistic, especially if we added all the shading and everything. Uh, be honest. I don't draw the back of that year's anywhere near this. Um, you know, I don't want to say detail. It's not detail yet, but with this many Kercher's. But if I'm trying to capture the role look of a near than I would because it's just kind of how they look, Um, but you get a little bit of that connection point right back here. You know something like this usually like a little bit of a bend or wrinkle to the skin before it meets the skull and same thing back here. It kind of comes over. We'll see a little bit of ah Winkler to like that, and then it just kind of meats to the neck. Maybe the job pokes wrong again that before an overly kind of masculine character, maybe a regular to back here for the skull, but where it meets the neck. But basically again, it's these kind of bends that you get in these little bits of pockets and you want to be a little bit more subtle if you are going to draw these more, less one a shade them, I would say more than draw them. Um, but they're there, so I just wanted to be aware of it. Now for me, the way that I would draw this may erase this again because this isn't really the way that I would implement this into my comic style. In fact, probably wouldn't have that line. One of that would have that I would just go more simplified, basically the way that I did do them. Ah, when I create my characters, maybe draw a little bit of the bend here, I'll probably just connect the line right there. It's a little too much. May get a little bit this round over, because what I do want to show is that it doesn't just abruptly meet edge to edge. So it doesn't go like this. No, I just looks really flat. But if I just take the time to add this bend and then the connection point below that notice that that just looks a little bit more dimensional. And then I can just And you know, what I would I think is the back of a helix because we're getting this is still that bridge of the year. And then I would probably just do the way it connects to the side of the head just like that. And if I want to be fancy about it and just add a little bit of shading like that and that's really it. So for my my stylized representation, that's what I would go with. Obviously, we all have very different styles and what we think looks correct. So you're gonna want to play around with this. But that's probably about what I would do. Maybe another little line there, but not much. And then from here, you know, obviously, if it's a character with hair, you're gonna add all those shapes that here and there just kind of kind of fold and fall in front of them behind their whatever. So just like that. But that's really and again the back of the ear. I don't know. It's gonna be really rare that you draw this, it's It's kind of one of those things where you should study it, but how often you really going to use it? So with that, that's the back of the year. Now we're going to do is jump into some lessons where we elaborate with this concept and we draw some more imaginative versions of the here. So with that, let's move on to the next lesson. 7. L6 Drawing Monster Ear Concepts Part 1: Okay, so now it's going Utilize what we've learned and convert this to something more imaginative . So, for instance, if we're gonna draw ah, standard ear something close to standard, we know that we would put a point here. We bring out Thea that y shaped from an angle and we'd see it. Something like this. The helix would go up and around. We'd probably see a little bit of an overlap right there. But let's say that we take this up now and we do something more like, you know, a Dracula year. Vampires. Something like that. So I bring it up like this and maybe down here and bring it down to the lobe and something like this. Okay. And then we've got that bump right there. Perverse bump. Here. We see just like that, by using what we studied from the previous year, we can do something Mawr fantasy based and stylized. So this really allows you to explore all sorts of neat things, but let's go and take it right about here. Now let's go in a race back. This'd information. So that kind of previous where here pretty much would have ended on the, uh regular human humanoid, and actually, it needs to come up here. But I guess we could even incorporated been there. So the other thing is this. You can really, you know, jump outside of the realm of what you've studied as well. So, for instance, knowing that if the Helix came up to a point on this type of creature would probably come back around this way, there's no reason you couldn't put maybe a reverse bend here something like that. Since you've added this extra information, it makes sense that there could be all sorts of inventive and imaginative concepts. But I would say Maybe just keep it with the same, you know, kind of hook Ben's that you get. So if you bring this slant down, look around, it looks a little bit more like cartilage. I think if you do that, but, you know, that might just be my personal preference. There actually lots of races back and let's try. I'll say something like this. I think that look more interesting. So, you know, definitely play with the different shapes. Uh, here. I think I want to see a little bit of shading like this. Let's get the shadow in here and little shooting right here. So you say Start to push these forms around by adding the shadow a little bit of wine way. You know, again, we can use these overlapping lines, too. Really kind of give a hierarchy to be the objects in the forms. Let's bring this back in and put a shadow or heavier line weight on the bottom of that. It's couldn't trace out the edges. Well, I kind of like that little bump that I see on the top. So all this is, Ah, Explorer, exploitative or just trying to be inventive and making use of what's on the page. Never discount these little misshapen lines and sketch lines, take full advantage of them and let them kind of allow you to come up with new ideas. Oh, never discount the the power of the sketch like this in the little hook line. Turn There just kind of make it feel a little bit mawr alive or energetic Anyways, it's so boring. Same thing with these alliance here tryto Houston close. And just like that, we have a little bit of a vampire type here. Now we can go back and render these. But what I want to first do is explore some ideas. So I'm just gonna drop line waiting for now. So you see, just like that. You know, we've got that that concept in place. Now what? This one I want to do something that's, ah, more horizontal. So coming off the side of the creature concepts had I think this would be more like a a goblin air or something. But don't quote me on that. I'm not entirely sure, but mainly just that the hood of the ear eyes on the top and then the cavity of the air will be below. So it's kind of the protective veil over the cavity there, like a lot of the no dog years caddy or seems like that, um, kind of somewhat of this anyways. And so let's bring the bottom of it up and around. First, we'll continue on with some of similar shapes that we've been implementing. But we're just shifting them around a bit just to make something of it more eerie or creepy , or aliens or monsters. We can even shift the way that it connects to the side of a head and do some creepy wrinkles. There could texturizing a bit, all sorts of weird things. We could do a couple little weird hairs here and there. Hair coming out the years. It's always scary stuff like that. Okay, so now there's are rough concept. Let's go in soft racist bag. It's like that and let's go and drop in some wine way and some shading. So again we could take this opportunity to, Ah, just our line weight keeping, maneuvering it around and exploring ideas, focusing on things like the overlaps of the forms of your line. Wait to, ah, convey some depth there again, these little funky kind of wrinkles under the ear kind of fun to do. And just like that, we've got a little bit more expression to it now. The other thing is this. Since we've got this huge top portion of the year, we can really take advantage of that, and we conduce, Um, some shading under here some shapes of shadows and we want to do is kind of imagine the shape they're going to take as they go around these forms. That's what's gonna really help kind of sell this. So let's do that Let's we'll have a little bit of educating right there. But other than that, that's all being shadow. We could always go back with a little bit of white out car back into this if we need to. But just these kind of rolled edges in this wave that you see should help to make it read a bit more dimensionally than just obviously doing in a straight line across So we can work with this. And as we come back with the rendering, well, we utilize this a bit more. Well, shadow under here, we get the red to the ear, a little bumps their brand down to here, pocket here. Probably another little bridge there. So, for so you know, we can we can be a little bit mawr imaginative. And this doesn't have to be. There's no sense of correctness here just playing around, okay? And I won't render this cause we'll come back and render it. But just like that, we've got another kind of monstrous ear shape, and, uh, it was pretty easy to do, and we're still working off all those ideas that we've learned from studying. Okay? Our human ear, things like that. so so with that, let's move over to our next lesson. Let's get a few more ideas on the page and don't come back and render him out and see what we get. So with that, let's move on. 8. L7 Drawing Monster Ear Concepts: Okay, so for this next one, I was thinking something a little bit Mawr almost aquatic based. I know you're thinking fish don't really have noticeable ears, Rob, and you'd be right there on the inside. But what I mean here is actually more of the fin of the fish. So one of things you might notice when you pay attention to even like dragon illustrations is a lot of times they'll use fends. Been looking type shapes for the ears. So that's kind of what I'm thinking here. So you do this kind of hooded shape, and then these little bones, like you'd see in a fish, is Ben or other details without a fish, more likely their friends. Oh, but but basically what happens is you get this kind of neat, almost like a wing. But it just has this kind of eerie look to it. I think eso again. I use this lot on you know what I'm drawing like a dragon or some other fantasy type creature on one of the other reasons I like doing this is because it has a very, um, almost functional Look, you know, it looks like this would be a really powerful here, So that could be fun as well. As you design these. Try to think about the way it would function and if it would be usable if it would do its job. Basically. So something like this for the initial concept and then keep playing around this. So is it is it gets back here, we're gonna do less off. I guess what would be considered the Helix? We're not gonna have that in place, really. But what we can do is we can do some nice divides to these. These separations. He's kind of bony landmarks. So we can do here is maybe do it's school, this way with it. And so we'll just do these ridges. I'm just gonna get myself some mom, some initial lines to start with. And this could be fun to add texture and details to. So Okay, this is something like that. So again, if we think about the shadow now, here, I'm gonna use more of a smooth line to add the shadows as a fan towards the centre cavity of the year. But we want to do is is texture these as they go up in around so show you what I mean here , for instance, I can start kind of right here and just get some of the idea going. So I'll put in these, like little divides. These little shadow divides and is a shade over here. It's gonna be filled in at first like this, But then I might embellish those a little bit. Really? Push that, uh, that depth a little further like this and also make it heavier as I come into the no inner ear cavity area right here. Kind of be messy about this at first, just to kind of get it in place, get the idea going. What's hell? That just kind of gives it a little bit more interesting. Characteristic, Same thing. Shade more heavily down here and separate. I just work into the lines, but keeping a bit of a highlight or ridge right here with this, it's more of a raised kind of again bony or cartilage landmark. Ah, same thing. Repeat this process heavier shadows here and then have them kind of break off to just the lines. And you take this as far as you want to front that you could do a reverse shadow like this . Maybe there's another little detail that's, you know, kind of pointed here and going up across whatever there's, it's almost like patterns, repetitive patterns that you're doing when you get to a point like this. I also want to make sure this Ridge is evidence. I'll put a little bit more of a heavier line towards the middle and then have that kind of fade off as it gets over to here. Because kind of a neat thing is the pattern itself will convey that information. But I think in the shaded area we want more evidence, so just kind of draw it more heavily towards Thea in our part of the ear shape. I also think I want to bring this tone to a point, something like that. So again make it look a bit more alien or monstrous that's so traditional we could keep elaborating. With this, we could make more textures to this one. When we go to color, it could color it with some kind of fish like properties. You know that we have the cool markings and skills and variations of color in the belly, things like that, so you could really play around with this and take this pretty far. This kind of gets the ball rolling. So let's go ahead and put another idea on the page. We're going to stop here on this one, and let's move this up and over, Get it out of the way. All right, So for this next one, I'm gonna go back to something that's a little more humanoid looking, but I'm just gonna inflate the proportions a bit more. So what? I think some kind of need about this is you can get this kind of monsters feel with even a very human looking here. Obviously the other ones air very far from human looking. But this one will be a human looking here just with skewed proportions. So show you how that can also give, you know, neat kind of look. So maybe a few more bombs and a few more Ah, shadows or whatever texture a little bit. It kind of weird hairs here and there. And it could almost just read as something a little bit more cartoony. But we'll incorporate the you know, the more realistic or edgy or gritty kind of rendering should say so again. Get the shadows in have the shadows round with the forms just to give it that, you know, kind of depth. You look very thick. Uh, lobe of the ear down here. Obviously, we could incorporate some kind of, ah, hearing here. We kind of funny her a bit more character to the concept. It's like that, You see, just like that, Uh, it looks a bit Mawr creature Could be like the here oven ogre monster in a big fruit barbarian something. But, I mean, you're a couple little bumps here and there. A couple of random hairs. So just things like that, you know, God, And render that out on that property, read a little bit better on them for one final one I want to add is ah, similar kind of effect, but just a little bit more of a rounded pointed here. So again, I'm trying to just get lots of ideas down on the page rather quickly so I can explore what direction we want to take or, you know, maybe have some good reference for future illustrations. Uh, studies like this are just so important. You see, we could take all that information and make a nice variety of these air concepts, so this one could be a little bit lighter. And, uh, and the rendering. But just like that, something that's still not quite, uh, not quite human. There we go. So now we're gonna do is head over to the next lesson and continue to render these out and really detailed the work. So with that, let's move on. 9. L8 Rendering the Work: Okay, so now I'm just gonna take this, uh, these ears and render him out a little bit more and talk a bit about that. So we've done all the work. We've drawn this in a bunch of different ways. We've talked about, you know, kind of the anatomy of what the primary here that we understand is which is the human here . And we've elaborated and made some more. Imagine two version. So the main thing is that you just play around these concepts. You tried different shapes and different forms. Basically, one of you want to make those forms stand out in different ways. So as you get into rendering like this, you can really start to push this a bit more issues say, Well, I want this area to be more shaded back. I want this to be the highest point here, So I will make sure to shade other areas back and said, you know, just rendering is kind of the icing on the cake. And again, another way toe kind of paint the picture and get a little bit more, uh, of a dimensional feel toe what you've already done. And even if you're not into rendering. Even if you're not like you know, this type of artists or whatever, you know, you hear that a lot. Why don't do that type of art? That's fine. But for your studies, I think it makes sense because again, you're tryingto really commit these shapes to memory. Once you get these shapes memorized, you start to feel more confident and you start to explore more ideas. So for me rendering or value studies and they do either or both, um, it's just another way to kind of hone my perception or, you know, my my ideas and really commit those two memory. So that's what you see me doing here. I'm just gonna shade some of these areas, so anything that's needs to be a little bit more in shadow. It's more cross hatching like here. I'm even kind of confused, I guess at this point of what I did here, I know that there's a raise dairy here, so that would probably mean that this is insect, because generally it's this wave pattern. It's sometimes you'll have to like, you know, bumped areas together, but generally it's a back and forth, so this is gonna be raised, this will be lowered. This a raise so on and so forth something like that. So now what I'll do is again kind of, uh, illustrate that a bit further. So again, this is gonna be inset swell to some, uh, kind of feathered lines back here. It's like this. So push that information back and then you may have shading right here. Notice to You can curve these lines. You can You can vary up the intensity of them. You can cross hatch. There's, ah, there's really no one way to do your rendering. Initiating. Um, I tried to make sure that the illustration has a variety of lines. At least that's the look that I like. You know, if I do something to overly repetitive, I feel like it flattens out the work. So I tried to mix us up a zai go and some of it thinkers from but thinner. So, for this area again, I want this to look like it rounds up and over and that this is the high point of this area . So to do that, I just want toe have these kind of tapered lines right to the very edge. I'm gonna make these a bit thicker, so it kind of softens up that hard edge, and it turns it to a little bit more of a Grady in kind of field. So I'm gonna go in time, lapse the other ones. I just want to explain a little bit of my thought process so that you, uh you know, you see what I'm doing and why I'm doing it. But that's it's really repetitive kind of thing. You No idea of what I just explained. So areas that I'm trying to shade back again this year right here, I might use, um, tighter lines and then have those fade out. What's another way to do a Grady int? So something like that and just so on and so forth. Just keep picking those low spots and tried Teoh, try to shade those back a little bit me and use those overlapping lines like this. So by doing this this line kind of cutting into this other shape, it really pushes this shape forward. It shows that this is in front of that combined with, you know, heavier lie in wait as well. So if you really want to push that forward. You can pick it up the line weight and again. You can use these like little hook lines that come in front of the other shapes. Well, things like that make it read up. Read a bit more clearly that that's in front. Okay, that's kind of pan back and check that. See it starting toe, starting the work, starting to add a little bit more flavor to the the line work not so plain now. And, you know, we could also use some lines at the bottom of the low barrier here and round that out, so on and so forth. So yes, so let's go ahead and time, Lapses said. I don't want you to get bored. This is gonna be a bit repetitive, but I like to go through each one of these and clean them up for my final pass. And I just want to say that these types of studies are so important, you know, sometimes it can seem like Why would I just sit around and draw a bunch of years on a page ? But this stuff could be so great for visual library later, so I really recommend it. I absolutely feel that this is necessary to, you know, not fall and trapped doing the same thing over and over again. Explore ideas, Put him on the page, side by side. So you can really kind of a Justus. You go and really again, that kind of explore your imagination there. So So with that, let's time lapses and let's clean these up and add a bit more rendering. So let's do it. All right, so there you have it. That is Ah, a little bit of rendering on top of this, just ah, another way to kind of commit somebody shapes to memory, Try to push them to and froing, you know, put some depth on the page, things like that on actually just like rendering. It's always fun. So s So hopefully these lessons have been informative for you. Keep in mind that if you want to implement this, I suggest that you dio create your own versions. Try some wild and crazy things. You know, it's good to practice the realism of the ear Aziz started with, but then, you know, developed some ideas with your imagination and have fun with it. So I'd love to see what you come up with and I'm here if you have any questions. I appreciate watching these lessons and more on the way. So as always, keep drawn, keep having fun, and I will talk to you soon.