How To Draw Faces - a simplified guide | Ed Foychuk | Skillshare
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How To Draw Faces - a simplified guide

teacher avatar Ed Foychuk, Making Learning Simple

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction

      2:03

    • 2.

      Warm Up

      3:20

    • 3.

      Simplified Structures

      19:24

    • 4.

      Eyes

      19:07

    • 5.

      Eye Brows

      9:49

    • 6.

      Noses

      13:38

    • 7.

      Mouths

      14:51

    • 8.

      Lips

      22:27

    • 9.

      Ears

      8:57

    • 10.

      Proportional Placement

      12:27

    • 11.

      Realism vs Comic Style

      12:36

    • 12.

      Don't Lift The Pencil Exercise

      10:10

    • 13.

      Ethnicities

      13:28

    • 14.

      Head Variations

      12:15

    • 15.

      Hair

      17:06

    • 16.

      Emotions

      9:18

    • 17.

      Face Turns and Angles

      36:31

    • 18.

      Lighting

      12:17

    • 19.

      Wrap Up

      6:23

    • 20.

      Faces Thank You

      1:39

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About This Class

Welcome to How To Draw Faces

Do you ever wonder why drawing faces is so hard? Seriously. We look at them every day. We look at our own, and others. So why is it so hard to draw them? Well, it’s precisely that reason! We see so many faces every day, and as a species, we’ve developed uncanny skills in differentiating the minute differences in people’s appearances. So don’t feel bad, just realize it’ll take a bit of extra effort on your part as an artist to really master this topic.

This course is designed to guide you through ever step in constructing a face. From the structure, to the details, we’ll go over every step together. I’ll even show you some tips on how to simplify the process. 

The attached PDF is designed to be used in conjunction with the video series in this course. Print it out, or draw on it digitally, while listening to the videos. I’ve plotted out the units in the following order, but you’re welcome to go back and revisit them as often as you like. 

  • Warm Up
  • Simplified Structures
  • Eyes
  • Eye Brows
  • Nose
  • Mouth
  • Lips
  • Ears
  • Head Variations
  • Hair
  • Proportional Placement
  • Emotions
  • Realism vs Comic Book styles
  • Ethnicities
  • Lighting
  • Wrap Up

Best of luck, and I hope you enjoy this journey with me. 

- Ed Foychuk

Meet Your Teacher

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Ed Foychuk

Making Learning Simple

Teacher

 

A professional illustrator based mostly in Asia, Ed Foychuk has been published both professionally, and as an Indie creator, in comics. He is best known for his work in creating Captain Corea.

Ed also studied Anatomy and Strength Training in University and is well versed in exercise physiology and muscular anatomy. Perfect for helping you with understanding how to combine art and muscles!

Ed has experience teaching in Academic and Professional settings.

Feel free to follow Ed on Facebook!

 

 

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Transcripts

1. Introduction: Hey guys, I'm Ed for Chuck. And this is my course on how to draw the head and face in a simplified way. Listen, as humans were designed and taught how to recognize certain features in the face. How to make sure that it aligns properly. And when it doesn't, when we draw it and it's a little off even just slightly. We catch it quick. I'm going to teach you through this series of units in this course, how to make sure everything lines up when you draw the face. In this course, we work on simplified structures and making sure we understand the skull and then the proportions of where everything should be. Then we start to move into the details, working on the eyes, the eyebrows, noses, mouths and lips, everything to make sure that it's simplified and easy to understand. Then we get into a little bit more detail working on realism versus comic style, head variation types, emotions, and even touch on different ethnicities and stylistic choices as well. With every unit, I attach a PDF worksheet, something that you can follow along with me as I go through the unit. But then often I'll give you some homework assignments so you can practice on your own at your own pace. Guys, there are a lot of methods out there on how to draw the head and face. Tons of them. This one, I actually think it's the easiest. Why don't you join me. We'll jump on in and we'll get drawn some faces with some emotion. 2. Warm Up: Hey guys, I'm back and I've got a unit for you here. I see not so much a unit, but more of starter pack, just a bit of a warm-up before we get into drawing. Whether it's this course or anytime you sit down to draw. I want you to take a moment and set yourself right? Sometimes that can be done physically. For example, like stretching yourself, stretching your hands, maybe moving it, misogyny and a little bit what I do often is this ball, which you're gonna see a lot through this course as I've put it on a surface and roll my hand on it, breaking up some of the fascia tissue there. So when you're thinking of warming up, whether it's every time you sit down and draw or at the beginning or midway or something like that. I'm notorious for sitting down and drawing for like eight hours without looking up. What happens in is I get up and everything's kind of snap crackle pop, it's all tight and everything. Instead of waiting eight hours for that to happen. Get up every hour, stretch out a little bit, and then come back to the drawing board. That's the physical aspect. The other thing that I want to do for warm-ups is a little bit on the paper, especially for this course. I think this is what we're going to practice on. What I want you to do. For this warm-up. It's gonna be really simple. All I want you to do is draw circles. Now, you're going to say, well, I can't draw circles every time I tried to draw what? It looks like this or this or something or this. Here's what I want you to do. Whether your hands on the paper or whether you're whether you're braced and you're basing your elbow or whatever, just start slowly rolling around. And you'll find, the more you do this, eventually you find your path to a nice circle. What I want you to do as you start this course and all the units inside of it, just start making big circles, little circles, all types of circles as your warm-up. For this course. Once you get into it, you'll be like, ****, now I know what he was talking about. This is why circles are so important in this course. You'd draw circles within circles. But this is what I want you to do. Even if it's just this for a minute, just you're not cutting into the paper. You're not. This is a light hand. You're not pushing very hard. You just kinda, this is a rough sketch. You do not want to draw one line. Perfect circle be done. That's what not, that's not what this exercise is. This is a warm-up exercise. Getting your head, your hand, your body all working in the same pattern. This pattern is circular. Guys, like I said, do this. Maybe at the start of every drawing session. That's kinda my recommendation. It's up for you in your flow. But stretch out a lot. Do a little bit of warm-up and then jump into the units. Let's get to it. 3. Simplified Structures: Hey guys, I'm back. In this unit. We're going to cover structures and proportions. And of course, how I do it is I usually try to make things a little bit simple for you. I know when we're looking at the head, we're looking at something very basic when it comes to a structure, the skull. And some of you have drawn a skull. Some of you haven't, some of you have seen one. Some of you have seen one in real life and you people scare me. We all understand the concept that there's something solid in here that we can't escape. Unless we're going for cartoony proportions, we've got a solid base of which to grow on. The problem is though, is if we want to draw a circle every time and then start to lay down all the muscle tissue and everything on top. It's extremely tedious, like it takes a long time to do that. I'm gonna show you a simple way that we can get to it a lot faster. Let's check it out. Okay, up top here, I have a Wilson ball. Some skulls. They're superimposed on each other. And you're going to see why the Wilson bowl is what we were talking about in our warm-up section of about practicing with circles. So I'm hoping that you've been practicing with circles. My circles get uglier every day. Just keep practicing. What we're gonna do here is we're going to practice and draw a circle. Keep, keep outlining it until it seems like you've got it right. There we go. I kind of did it right the first time I looked it up. Now that you've got a circle, what are we going to do? Well, we're going to bisect it. What does bisected means? Cutting it in half and cutting in half. Luckily, we can see how this Wilson has a little marker on it that it's already been cut in half. A lot of balls. When you buy them from the store, you will see these kind of lines on it depending on what support therefore, and you'll see this bisecting line. What we're gonna do for this here is we're going to bisect it. We're gonna count from the top, the middle, and the bottom. We've got 12. Then what we're gonna do, I've already brought it down to this line, is bring it down here. So this is 123. Let's do that again. I bring this one all the way down. We'll bring it off to this side. The top is one. Comes to here. This is the first 1, second, 1, third 1, all the way down to here. Now what does that do? Let's wait and see. Come over to the skull and do the same thing. I superimpose Wilson on the skull. So we'll come in and we'll draw the circle. I'm really hoping you guys have printed off this sheet and are practicing alone. It'll make it so much easier for you. You're going to bisected down the middle. Bisected down the middle this way. This top, this bottom middle line will be 123123 down to here. Now look, here's where that chin jaw. It's gonna come up. It's going to come up just a little bit of an angle and come up towards the ball. You notice how it doesn't come on the outside of the ball here comes the little shorter that. And we're going to explain why, Because we've got an ear and there are years eventually going to be in there and stuff. So if you want, you can come back and practice here. And it's gonna come up, come up a little bit. You want to have these on the same similar angle and have them come up to the side of the bulb, but not the outside of the ball. Just a little bit in from there. What do we think? How does this look so far? From the front? It makes sense. We're just going with the overall height of the head so far. Now, let's see if we do it from the side. We've got Wilson again. We're going to bisect. Bisect. Listen as soon as we start getting all belong and squishy, we're going to throw proportions off. So be very careful with that. I want to have Wilson still as a ball. We've got the top, we've got this bottom, and we've got this line, right? So we're gonna go 12 and come down to here for three. We can carry it all the way down if we want. From the front of the ball, we can drop this straight down and bring it up to about halfway. And eventually this will lead us to our gears and stuff. I'm not too worried about that right now. The only thing is from the back, depending on genetics and deformities and a few other things. Sometimes you'll see some skulls have a little bit of a bump at the back, so they're not a perfect round somewhere a little bit longer that way. Let's see if we can do this over here. We'll drop it down following that skull, will bring it up about midway. Bring it to round about where that ear would be. But listen. When it comes to ears eye placement, we're gonna get into that in just a little bit. Then we can bring a skull and we can bring it back just a little bit of Fremont and there's our skull. What I'm hoping is that you give this video a pause and you start to do the same thing here. So you're here here. It can be smaller, it doesn't have to be one to three year about here. And now you start to draw, from the front. You're drawing a whole bunch of these, the skulls, these simplified skulls, very, very simplified. You could do it from the side here. You're going to cut it, cut it, cut it. Maybe add. It would be 123 somewhere around here. I'm gonna come back. You're gonna practice this tons. You're gonna be doing all these circles. And that's why I gave you so much margin here is to just practice play around with it. It doesn't matter the size as long as these proportions are on. We're going to come down and try this on a real person. Somebody pretending to be a real person. We're going to look for circular outline. We're going to go with the top of the head. We're going to go with a bottom of that circle. Then we're going to cut it about in the middle. So we've got 12 and we're gonna drop it down to about here. We're going to carry it all the way down. We're going to use the chin, come up and it's inside the circle, come up and it's inside the circle. If I was to back that away, you can see how that looks. Let's see if we go to this other side and see what kind of head Ryan Reynolds has pretty circular. We can cut it this way. Could it this way? We've got 123. I didn't write here, but then we dropped this down. Bring it up. Gonna be like this. And Ryan's had doesn't go back very far. Okay, so now we're going to get into a little bit of rotation. Right now we've got our balls and we've just been bisecting like this, whether it's turned straight on or all the way to the side. We can see here Ryan. He's not straight on, not a straight line, but it's a slight turn to this bowl. It's still not looking up or down, so it's still got this. It would be a drop-down from here and up. But he's got this very slight rotation here. Let's see. I've got a prop, got this ball, this ball. Let's see if I can angle it. If it's looking straight at you, this line looks straight. As soon as I start to turn it it looks like that line is bending. But it's really not. It's just it's still a straight line. Obviously to your eye, bends around this curve. You can see I've done it a few times on this ball. What you can do, you've got to get used to being able to move a ball and have a line curve in different ways. This would be a good exercise. You can pause it now if you want or just practice as, as we're going along. But understanding that straight lines from certain perspectives curve as they curve around the shape, as that shape starts to turn and move. That's what's happening here. We've got circle that didn't have a straight line bisecting it, but because it's turned, it's turned this way. This has been turned this way. It's turning this way. Overall, I've still got this top, this bottom 123 from Midway of the ball. I'm bringing it down. His chin, comes in this way a little bit. I'm gonna come up here, come into a skull, come up here and come into this practice. Guys. Take time to draw it straight on bisecting. Draw it slightly turned. Bisecting, draw it turned even more bisecting and then turned all the way. This would be the line on this side. And then we start to do the drop-down and stuff. Take time to practice this. It's really important. Honestly when it comes to this whole course. Get this one down, you get this unit down. You can't draw a circle, get that down. Now you're on this, make sure you get this one down. It's really important. Isn't any different when we talk about Scarlett Johansson? Likely not with women. The hair can sometimes get in the way. I'm going to bisect this like this. We've got one line, second line, third line. It comes up. Her face is a little wider. When it comes to its proportion to how it interacts with the back of the skull. That's okay. This one's a straight on shot. This one What's going on here? Well, we're about to discover. I've still got this line, but instead, if I'm following the features, kinda goes like this. So this bowl has been rotated this way and rotate it up a little bit. So this middle line of the ball is maybe somewhere around here. Then as it comes to here, it's coming down. Into a chin. Her mouth is open a little bit so it's distorting how far it goes down, right? So this would actually be angled this way, if that makes sense. One 23, because everything's been tilted up as we were talking about. From the side. Not really a side but slightly turned actually, it's bigger. She's turned it. Here's the bottom, Here's the top. We've got 123. From about here. It's dropping down, comes up, comes over to the ear. Then all the way turned over. Scar Jo's head comes down. Let's see if we cut it. This is an easy one because it's straight on again. We've got 123 comes for here. Her head goes a little bit further back though. Her ear and job placement is gonna be further back. That's an individualized thing. Then what do I have this room for? You bet you. I want you practicing. This is how we're looking at the structure. Start with a basic bowl. Let me grab my basic bowl. Start with the basic bowl and get used to turning it. Then get used to saying, Okay, this bowl is two-thirds of the skull. The other third is going to drop down below, below that center cut line. Once I've got that down, then I'm good to go. I've got a simplified skull that I can kind of manipulate. So I wanted to drop that out and move it all over right. Now. Okay. Next up, what we're going to take a look at is where things are placed. I'm going to switch the colors for us just to make this just that little bit easier. I've got this topline and I've got this bottom line. What I want to bring it off to the side here. We've got this top and bottom. If I cut it in 1.52, that is going to be our eyeline. Now listen when I talk about proportions, proportions of the face and everything, I'm kind of giving you some basics right now. I'm giving you some basics of, here's Ryan Reynolds for an example. But when we have different people, we have individualization. And so it can shift that some people have a much larger upper head or shorter lower face or whatever, features get squished. But for right now, I hate to say it, but let's look at Ryan Reynolds as the perfect guy. We're going to do this again. We're gonna go top to bottom, middle. And there's our island. And it's actually more like right there. What I like to use as these points, the insertion for the I actually, I always wanted for that. If that's the top of the head, that's the bottom head. There is that one too. That's what we're doing. So if you're looking at when you're constructing the skull, you're looking at There's your eye placement. He's gonna be halfway from the top of the head to the bottom. Everything else kinda gets to fall from that point. Coming off the top here. Coming off the bottom. Halfway would be about here. Networks without one. Once we've constructed the head to properly, we can now start to place where the I is gonna be. This one. The time that this gets a little hint here is when we're looking at it from certain angles here to here to here. If we look at it, well, that's halfway and that's right at the bridge of her nose. And then it would come across like this. This would come across our shape. Once you start doing angles and everything, it gets a little bit tougher, not just straight on turning this way, but looking up and looking down, you've got to kind of tilt where your measurement is coming from. That's the eye placement. Next one. This line is where the ears start. I'll get into all of these individually when we start looking at individual units, the ear start at the eyeline, come up from the island to about the eyebrow line, and come back down to the nose line. The nose line is pretty much almost always where that ball, where our construction of the ball went. It's going to come here and come down, down here. Again, there's some individual variation. But it basically, if I follow this eyeline, come here, the ear starts from there and it comes down to there. Here's Ryan Reynolds has generally speaking smaller ears. So it's not the biggest thing, but the key point is to start them at that eyeline and bring them up if you want to bring it all the way down to where the ball finishes somewhere around the nose line. That's up to you. But yeah, generally you will find that the ball will finish at somewhere around the nose line. I think I kind of went big on this one on the side one. Let's see if this holds true for a scar Joe. We're looking at years while unfortunately Here's the eyeline, right, Here's top, Here's bottom. Here's the eyeline. Does it work? 12 looks about even for ear would be somewhere around here starting and then ending somewhere around her nose line there hidden a little bit from this angle, but that's where they would be at. Is there a picture here where we can see her nose? Eyeline is here. So we got we've got top of the skull, chin, halfway, one to bring us back years here. And it comes down to about her nose. She might be slightly angled here or wherever, maybe on a slight head tilt. So that's what's throwing this a little bit. That it's a little top heavy. But other than that, it works. If we back it up, we can see how we've got this simplified structure to the head. Guys. This sheet is extremely important. I want you to work at it. I want you to really do a good job with it. Make sure that by the end of when you're done practicing and everything that you feel, you can draw that simplified head in a lot of different angles. I'm going to give you a little bit of extra sheets to practice on here. You can come in here. You can work on your circles, work on bisecting them in different ways, work on twisting them in different ways, turning them and stuff. If you have a bowl at home, you can play with that and take pictures of it and practice on how this would look. Then you're gonna go into the skulls and you're going to do the same thing. And see how if you could start to draw the structures of those. You're going to draw side-by-side. You're gonna get creative and do a whole bunch of them. There's lots of room to practice here. By the end of it. You should have this page filled, the previous page filled your mind filled with an easy, simplified skull structure. If you have that, you're ready to move on to the next unit. If you don't have it, don't worry. That's why we have these video lessons. You can go back and you can do it again. And it's nice and easy. Once once you have this though, like I said, as we practice with other ones, get in there and go, Okay, well, There's the top, there's the bottom. Here's halfway. This would be where the eyes are at. You can practice that. The main thing though, structure, don't worry about putting the eyes and yet because those are coming in following units and stuff, you can get a feel for where they're gonna be, but don't stress about it yet. I don't want you to stress about the proportions yet. The placement yet. I want you to get this structure down so that it makes sense this way. Once you've got this structure down, you're ready to move on down. And let's move on to the next unit. 4. Eyes: Hey guys, welcome back. In this unit we're going to talk about eyes can be tough. There's a lot of things that are expressed with the eyes. Lot of emotion that happens. They say eyes are the windows to the soul. As humans, we're always constantly looking at each other, looking each other in the eye. You can tell the honesty of looking somebody in the eye. When you're drawing it. If you muck up on it, people catch it really quick. What we're gonna do is we're going to explore how to make sure that we're drawing them correctly, both in the right position and everything, the right sizing proportions. And then also understanding the variations that come from individuals, my eyelids, my shape, my color are going to look different than yours. So how can we address that? Okay guys, when we jump on in here and see what we can do, first thing we're going to talk about is we've already studied a little bit of the structure and remember Wilson and his bowl and skull, right? Do you remember we were talking about how we can sketch out the circle we can bisected. We were measuring in the last unit how we can do top, bottom, and then another third down here. So we've got 123. Well, the other thing that we could do is it takes the top here. Take the bottom, draw it all the way down, and then cut it in half. Right there, it's about half. And what does that do? Well, that's gonna be our eyeline where we start to draw the insertion points of the eyes and stuff like that, right? So we've got 12 halfway is our eyeline. As we go through with various phases and tried to see how that works. We're gonna see, you know, obviously there are some people who have a bit higher forehead that changes a little bit, but this is a nice general basics to kind of go on. I hope you're exploring or this with me on your worksheet. If you're not, you'll be sketching off to the side yourself, hopefully by now you can draw a basic simplified skull. This eyeline is going to be about halfway from top of the skull to the bottom of the chin. Individual variants, depending practice these skulls you've been practicing from the last unit. The other thing we're gonna practice here that I want you to working on is the eyeball itself. There is a circle, but what's the difference between a circle and the sphere? Three-dimensionality. You want to be able to have this and be able to rotate it. So yes, I could bisected this way. And the iris, the pupil was right there. But what happens when I move this off to the side? Well, that moves with it. You can practice tracing circles, bisecting it and finding, okay, well where would the center B? And then drawing in the details that way. And then just keep doing it. Do it off to the side. Say, Well, what would this look like? How would this look? What if I take the same ball? Turn it and turn it down this way? What if I go to an extreme and it's up? But the person is looking up. How do I do that? One little hint you can do is what I have is a ball like this. So I, I've drawn on it and it helps me for understanding bisecting lines and all that kind of stuff, but also helps me for understanding when I have a circle and I start to bend it. Notice how that circle is no longer a circle, but it's now an oval. As I put it on down here in midline and stuff against pretty even. But as I start to bend it to its edges, start to move it around, it becomes more of an oval. If I'm drawing that, my circle itself stays a circle. But let's say I'm moving it down towards here. Instead of being straight circle, it starts to become slightly more oval. As it starts to bend and rotate down. What I want you to do is make sure you understand this premise, draw a whole bunch of circles and rotated a whole bunch of different ways. And you're going to find that's what this course is. Understanding, how everything changes as you tilt it in pivot and all that kind of stuff, then experiment with bisecting it in different ways. So to start off this course, what I really want you to do is make sure, or rather this unit, make sure you understand the proportions of where things are gonna be placed in the skull for the I, understanding that it's an eye ball, not a circle, and then that bowl rotates, actually rotates within the sockets. The next thing I want to understand is sizing. And maybe we can look at our good friend Hugh to try to explain that. We can actually look at the skull or hue. But you can use what I call the eyeglasses technique. Basically, if you've got a skull here. Here's an eyeball, here's an eyeball. How do you measure it out? Well, there's an eyeball worth in-between it and usually an eyeballs worth on either side or at least half. It depends. The good spacing though the one that almost always stays consistent is this. Let's take a look at Hugh Jackman and see if this works. His eyeball would be something like this. As I start to search to see where where his eyes would be. There's an eyeball in-between eyeball on this side and an eyeball on this side. If I'm drawing his eyes. Here's the end of the head. He's a little tilted and stuff, right. So that's why it's throwing it off a little bit. But his eyeballs are approximately the size. So I would count them five across for his head. The eyeglasses technique would be, if I come up here, we would look at it like maybe I'll just draw it down here. Here's the skull. I bring it on down, bring it up. I'm going to find that center, maybe somewhere around here. If I'm going to divide it up, I wouldn't divide it up. Here's the middle. Here's one. Here's another. I, I can kinda throw these on the end here. But the eyeglasses would look like eyeglasses. They would come around this way, Come around this way and come around this way. Once again, getting my spacing down in between them. Looks like a pair of eyeglasses. You can practice this. It takes a while to get it down to make sure that Here's the thing you're going to have narrow set eyes are going to have wider set eyes. There's individual variants, but it's good to kind of keep it this way that in our sketches we can kind of run it. That it's both Five Eyes across. Sometimes some people are a little bit wider space, so you might get a half an eye on the end here or something like that. But five eyes across as nice and easy, that that's how the skull looks and stuff. I get it. I didn't even looking at me now, I'm sure you're kind of looking and saying, okay, I can kind of see that if you've freeze-frame, take a screenshot and kind of draw over it. You've got this five eyes across structure, the eyeball, the proportions within the skull. Then we get into the lids. Whenever you're drawing an eyeball, realized that the eyeball is here. We've got this structure as a basic eyeball. But then now we've got some other things that are going on here. We've got the eyelids that we're all pretty familiar with. We've got this little thing here called the caruncle, weird name. We've got eyebrows over top. We've got sometimes, depending on ethnicity, the folded lid, we've got eyelashes that actually run from a ridge that are just folded out just a little bit. So depending on the person, you actually get a little line, especially if you're looking down at them, you get to see this line, then you get to see the eye eyelashes coming off of it. I want you to practice that understanding that there's still an eyeball in there. Let's hold this one's interesting. This one is rotated way down. There's still an eyeball in there, but that's the the caruncles here, usually at the edge of the eyeball. And then we've got the eyelid being pulled up here, a fold, the eyebrow over top, and then the eyelid underneath. And sometimes you're gonna get bags under the eyes. You're going to get that kind of stuff. There's so much going on with the eye. Again, I'm gonna refresh. We start with the placement structure. We keep in mind that there's an eyeball and its rotational. We look at the proportional across where we would place it and how many i's. So it would be we realized that there's anatomy that overlays the eye, the eyelashes, the eyelids, all this kind of stuff. So weird little caruncle their sounds like a cartoon character. Then we start to look at individual variation. What I want you to do, and if you have two different markers, I think this is great, right? Try to find. So I'm gonna go blue first, where you think the the eyeball would be. You can use that caruncle is a little bit of a reference. Sometimes I put a little dot there just to help me. All right. Then I work the eye lid off of there. Usually I tried to find a sweeping motion. So for me, I like going this way, 12 and then three. So this is 12 and then 33 and a backup again, so I would go 123 underneath. But everybody's got their own pattern. We'll zoom in a little bit more. This is just practice. I put this here for you to see if he could hunt down. Say, Okay, here's an eyeball. Here's an eyeball. We can see how there would be a spacing here in between. We're gonna go with the caruncle, place this in here. Go up, down and up, down and under. You can see how just, just so you know, like eyelashes will also flow in this direction. Eyelashes will flow this way. I like working with my right hand, so it's gonna go this way depending on how they did their makeup, but it's gonna come out this way. And then the bottom lashes will also flow out that away. The bottom lashes will also flow out that away. Then you can add details of the pupil, the iris, all that stuff. Makes sense. Practice even more and look at the variation here. A lot of this eye ball is hidden by these monoliths. We might look at it as a bit of a smaller item. The eyeball itself is really not smaller, but how much we can see of it maybe is coming here and do the caruncle come off down? This one is small or smaller? Narrower it smaller. We can kind of have that. It's a mono lid. So like with other ethnicities, you might have this second lit up. They're not with a lot of Asians. You can come in. Like I said, if you want to this in first and then come in and start to draw the details. Keep practicing on this. It takes a lot like what I would recommend is do this, pull it off to the side, look at the variations that we're working on. There's a lot going on here. There's a lot of things happening and I think it's awesome when it comes to eyes that there's so much expression. But it can feel a little bit like there's a lot to take in at times, especially when we throw makeup into the mix. I think makeup can, especially for a guy, really gets confusing. That's another thing. We've got Hugh Jackman up here. What's the difference between a guys and girls? I well, there's the eyeball is the same. But look at the makeup that we've got going on here for. Generally, if we're looking at a woman, what we would do is, oops, that back. Let's take this as a woman and this is a man. If I'm gonna do that, I'm going to have this I and this either the eyeballs are gonna be the same. Just nice, ugly circles. We're going to have this here, this here. This does not change. Once we start to get into the details. We can have the chronicled the same. We're going to have the I come up back and around I shapes are often very similar. Depending on ethnicity, we can have different flowing of eye shapes, of different shapes and stuff. I guess. We can have these eye shapes very similar. One of the biggest differences between a woman and a man will be the eyebrows on women will be often higher up and there's a lot of space here. It comes down into the nose and there's a lot of space and body due to more feminine features, but also eyebrow management. For dude, I'm gonna make this into a dude. The eye brow itself is often more muscled. The shape. This brow that sits on top of a lot of guys will often be a heavier set. You'll, you'll get this heavier set. Musculature, sometimes Cro-Magnon looking heavier brow. I'm not even talking to the hair, I'm just talking about the muscular part of the brow that can change things. For a woman. There'll be a lot more makeup in the eyelashes, a lot more details to the eyelashes for men. Maybe just Angular. And that's it. There's not a lot going on there for, for any eyelash details. Drawing it in will make it more feminine. The more. It's funny because for women, adding more lines around the face makes it more masculine. But when it comes to eyes, adding more details into it often make it more feminine. We, just as a society generally gear that towards femininity. Guys. I've created this sheet for you. You can practice off of this side or this side. It's, it's really up to you. There's lots of examples of given a different shaped eyes here and stuff. I'm also going to include this extra worksheet of just just practice, just practice, practice, practice. I hope you're drawing tons of eyeballs, rotating them around, trying to draw different eye shapes and seeing how it fits an outlet, how it figures for you. Recap from the beginning. Understand where the eye is placed in the skull. That halfway mark. That's the basic. You can move it from there, but you use that as your standard. After that. Get the rotation down, understand how this rotation works. After that you're going to go into I sizing. I, is it almost like that eyeglasses technique? That is there, There's an equal space of an eyeball in-between them. Okay. Then you're going to look at how everything's covered on to them, how the brow hangs over. How, if you're wanting to do extremely masculine, how that Brown might hang even heavier for females, how it might be groomed and put up. How the caruncle almost forgot it there, how it starts and then spreads out from the island. The island, how the eyelid we'll start here in the tear duct and everything and then move out and come out. This is what you're practicing practice. Do you want to do it nice and sweeping like that? Do you want to do it? Hard techniques? How do you want your eye is shaped. Is it more of an animation? Which really open? Is it tight? More sinister looking, focus looking. This is up to you guys, up to you and your character design and everything. But my recommendation to you is practice, practice. All shapes of eyes. Look at how others have drawn eyes looked at in comic books, manga, anime. How they can get away with very few lines. Right leg is adjust this. And that signifies an eye. This goes all the way back to some of the first things that humans ever drew in Egyptian hieroglyphics and stuff and cave paintings and stuff into what represents an eye. It's important because as I explained at the beginning of this unit, we looked at that as gateways are gateways to understanding that character, that person. So make sure you get this down before you move on to the next unit, guys because it's super important. So practice, practice, practice. 5. Eye Brows: Hey guys, we're back and we got another unit for you here. This time. We're talking about eyebrows. I'm using the plural. Even though a mind sometimes gets into a singular. Eyebrows, It's important to God because they can show a lot of emotion. We can show surprise. We can show so many things when we're using our eyebrows and when we're drawing them correctly. I've seen eyebrows drawn incorrectly. And I've even seen them drawn in real life after a bad trip to disbar drawn incorrectly. They're incorrect. Makes other people raise their eyebrows. I'm not gonna get into the, all the anatomy of the muscles that are underlying the frontalis. The super silly. There's too much going on in the face, but I will simplify it and just kind of break it down for you so that you could draw it easily. So let's jump into it. Showed the anatomy of the face here. But the main thing I want you to see in this anatomy is don't get too stressed over it. But you can see we've got muscles that are pulling from this direction. So they can shorten shorten up this way so they can lift they can lift everything up. All right. That's where we get the there's a shortening. There's a shortening here. It's not huge on different people, depending if you got Botox or not. There's, you can have some play there. But there's also a section that's in here. And displays of this way. This is where we have so much play with the eyebrows on the inside here. The temporalis as well on the side here. I don't know if you catch them on camera, but I can do a little ear wiggle and it gives a little bit of a movement on the side here. Usually when it comes to eyebrows, that's not all big factor, but I just wanted to throw it in there and kinda show off my ear skills. Main thing raising. But we've also got we've got an eyebrow that's sitting here. Sitting over on this ridge of the ocular orbit. It can go straight up. So we can raise it up. We can raise it up, and we can also raise this middle section. Hire two. Now as we draw that in there, we can see how realistic that looks, how it can be raised and that middle section can flip up even more. So. First, I want to talk a little bit about eyebrows. The different variations of eyebrows for people. Mostly when we're drawing it. You can draw each individual hair. Spend a long time doing this. Let's, depending on how you want to render it, you can do individual ones. For they started to, they start out like this and then start to push back and blend, fold over each other sometimes and stuff like that, depending on the person you can do that. The other thing that I really want you to do though, is think of how you'd simplify it if here's the eye and we know that the muscle is coming over it. What we can do is just have fun and follow that outside line there. Even if it's a little jagged. We can follow it like that and we can see how this has raised on the side there. You can follow the nose and it often is nose ridge will often lead up to the eyebrow. And then you can follow it like that. Instead of doing all individual lines. It's up to you and your style. Sometimes I think maybe it's better to do individual lines because then you could really emphasize how wild things are. But you could do it also in the outline of it. If I wanted to. Instead of these individual lines like this, this, it almost ends up looking like a crosshatching beast. You can do it off to the side like this. For women. Sometimes simple fine line will do, or sometimes a thin, thin little line on top of it. We'll do two for style. If we look at where the eyebrow starts, usually if we go from the Chronicle inside here, we start to move up. That's a good placement for where you can set your baseline of where the eyebrow starts. It varies a little bit and obviously, unicycle here has it all the way inside, but generally, they're leaning forward and generally you could think of it something along those lines. If you want to make them big and bushy, make them bigger and bushy. Bushier. Eugene levy is famous for his massive, massive eyebrows. Use that play with it. This is where it gets into. Later we can talk about caricatures and stuff I get. But if I was drawing Eugene levy, boy, I think I'd have like half his forehead to be this big banded. Practice with eyebrows and stuff. Okay, So we're gonna back up a little bit and we're gonna see how we can use thin lines. We could use outlines, we could use heavy detail or just sporadic detail. The main thing is though we want to start the eyebrow just over the caruncle or just inside of it if you want to, you can go inside a little bit depending on the angle. But realizing that there's a lot of variation involved, what I hope is that you guys bring it on down. Practice the eyeballs, maybe practice this eyeball, practice this, I will just say, okay, well, how this guy's got a very heavy brow. How are the eyelids sitting on top of that? That's what I want you to practice here. That's the first step when it comes to it. We understand the anatomy of the underlying muscle structure enough. We understand how it moves the eyebrow. And then we talked about how we're going to render it differently depending on our stylistic choice and the character style. Next up, let's talk about emotions a little bit. And this is really simple to start off with here. We're just going to look at the eyes and the eyebrows here. This one is important. If it's coming up like this. What does it mean? Could be surprised depending on the other feature or curiosity or puzzling, something like that. I isn't it? If it's up and off to the side with the eyes looking in a certain direction. Again, curiosity. This one I like this kind of scooping in. So it's raised in the middle. Even. It's got this committee look. When we're talking about emotions and eyebrows, there's this huge combination or correspondence between all our facial features. So it's not just the eyebrow. Raise your eyebrow. By its lonesome. It looks a little freaky. When I push them down. What does that mean? Like, let's say I go in here and push these downright angry. But I've gotta, I've been pulled off, got a bit of an angry face. Resting phase. I want you to play with these eyebrows and even look in the mirror for yourself. Hold a mirror up or your phone or something, look at it. Here's my phone somewhere down here. Look at it and just say, okay, well, don't worry about the rest of it. Even do some mockups of like just this is why I put this here, not because of it's showing anything major, but because you could just use this as a template and just say, okay, where am I going to put the eyebrows on these templates? Some of these eyebrows I like how they look already and I can practice and play with them and stuff. Others, I don't know. I think I could do better. So puzzling In one down, one up, angry, raised, play with it yourself. Play with your eyebrows a little bit. Draw them and see the stylistic choices you want to have. And just see what emotions you could evoke with different eyebrow choices and stuff. Guys. Nice little unit on eyebrows for us. I hope this was informative, both for anatomy, stylistic choice, and conveying and expressing emotion. Practice. Play with it. Look at your own eyebrows. If you have them. Show me what you got. 6. Noses: Hey guys, I'm back and I got another unit for you here. This time we're talking about noses. I always thought mine was a little big, but people tell me it's decent. So I'll roll with that. Big noses, small noses. Why? Noses? There's a whole bunch of different types. And we're going to talk about them. And we're going to talk about how we can draw them, choose what lines go, where that type of thing. But how basically the underlying structure is pretty easy and it's fun to play with. Okay guys, let's jump in here. I've got a sheet of people that I liked their noses. Let's practice with it a little bit and see what we can come up with. Hopefully what I'm hoping is you guys print off all the sheets and then you follow along. Sometimes there's sheets that you follow with. And then usually I include some extras for you. Just for not homework sake, but extra work. What are we going to do here? Well, the style that I use for drawing noses is pretty simple. I draw a circle, bigger circle, smaller circle, and a smaller circle. I know in this course we cover a lot of circles. So let's do that again. A bigger circle, smaller circle, and the smaller circle. Practice again, a bigger circle, a smaller circle, and a smallest circle. You can start to play with this really large, smaller, smaller, really small, whatever you want. So let's just look at this next example here we're gonna do the same thing. A bigger circle, a smaller circle, and a smaller circle. Now, why do I do that? What's going on? Where am I going to go with this? Well, the bigger circle has the bottom. That knows that comes in. And then you have the nostril. Let's try it again. The bigger circle carries the bottom of that knows. You come in to the outline of the nostril. And it gives you a nice clearer way to draw all those sides to it. So this might be into the nostril there. Then we can go out. If we've got somebody with a button nose, same thing. It's going to have this. And I can draw that little, little curvature, little button that goes on top of there. Let's see. There's more to it though. Because the nose is not just does not their babies and that's all you get is that little nub, right? So yes, I want you to practice this. But what I also want you to understand is here's the big one, here is the smaller ones. Notice how this one is. We're kind of drawing through. But then we've got some curvature that happens into between the eyes. If I'm doing drawing this, I get to draw this outline. Draw this. Had a little nostril there, maybe do a little bit on there. And then if I want to, I can draw a curve there. Let's draw it off to the side a little bit. We'll practice this so many times we're going to get this down. I'm going to draw, let's do it in blue first. Draw the bigger one. Draw a smaller one. Smaller one because it's turned so it's gonna be more of an overlap there. Then maybe draw a line that comes up. Now am I going to draw all of these features? No, I'm going to come out here, draw this outline into this nostril here. I'm going to come out here, draw this, maybe a hint of this one here. And then maybe this might just come up that away. She's got a small, cute, relatively small nose. It's not huge. We could draw it from a whole bunch of different angles. So that's what I want you to do here guys is draw it from a whole bunch of different angles. So I'm going to draw the same thing here, but this time we're looking up at it. So how would that look? Well, there's gonna be a bit more of the underside here. So I can come like this and come into an Australian maybe I don't want to draw that insertion that comes down here and it doesn't always have the nicest look to it. Draw the outside of the nostril there. And then maybe this line comes up like that. Something along those lines. Just give it a hint from the side. Let's see if this looks any different. Here's the bigger one. Here's a smaller one and I can't see through. So this would just be this line coming up here. Draw it off to the side. Here's a bigger one. Here's the smaller one. And here's the line coming through. I think you're already getting it. Here's her button knows that comes up. Nostril comes in. And if I want to, I'm choosing the details that I'm drawing and then I can have it swooped up like this. There's a lot of things you can play with here when you're drawing noses. The size of the nostrils. As we're gonna get into different ones. The shape of the nose itself has a bump here, something like that. But for right now, we're practicing with this cute little nose. Keep audit practice, use. Use her as a great example of just that easy circle button type of nose. We're gonna get into different types though. Same construction. Circle, circle, circle. But there's a bigger, bigger line here. With her. The emphasis is gonna be the heavier, maybe the heavier, longer nose. If I'm doing that, I might circle, circle, circle, and then there's a longer line up to the eye line here. Proportionally, It's a little bit longer. I can have a really big, heavy shadowed nose down here. All right. That overshadows small little nostrils or something and then have it come up. Obviously. We've got a bigger example here. We've got this is where we can get away from circles and start to go into ovals. Just nice looser shapes. If I'm gonna draw this, maybe I might bring it out this way. Have it hangover. Haven't come over under here. This is his nostril, and I could do that. But this is where we get to have some fun. I really like this. Let's blow it out even more. Then moving on this. So instead, I'm going to have to come out, come like this, come in and have it more of a cartoony type of figure. You can start to play with it. Push, push it as much as you want. See how it looks to you. Play with the nose as long as you're keeping his general rule for the shapes, you get to play around a little bit and stuff and just see how far can I take it before it looks like something otherworldly. Now, sitting by itself. It doesn't look like a nose, but as soon as I put his mouth below it or something like that, then it starts to look, as we'd expect. No teeth. We get into a character type stuff. Guys, this is what I want you to do. Go through and really look at these different types of noses and see where the features are for her. I'm going to back that out a little bit. Because I think with her, She's got this detailed kind of diamond shape almost. So if I'm drawing this off to the side, you'd be like this, like I can still rough it in. But the details I'm gonna have are like It's this almost square nos squared button nose. And maybe I'd add just a hint of something there and then appear coming in. So the lack of detail on this and focus on just this square button, even the top peaks and stuff I get, I can square it off on the bottom if I want, but that's too much. Yeah. I think I would leave it like that and just have it that way. Little bit of a wider nose with the features round or features that, and then a swoop inside. So you can play with that more wider nostrils and that type of thing, right? So if I'm going to come in, I might come in like this. Might even give her a bit of a button. That type of thing. You can start to play with it. Different ethnicities will have different shape noses. We know this, It's not a huge secret. Make your choices. Is it going to be this tiny little detail that we barely put on there? What are we choosing? Once we add in base? Are we choosing to just have a few little features? Whereas the dark spots? Is that what we're doing? Is the nose the detail or is it the nose, the orbital socket here that leads into the nose with the heavy brow up above. Is it a kind of a pig looking thing? This is where it comes into individualization. De Niro here we're going to talk a little bit about the bridging, knows he's got a bigger, bigger main bulb. And then we can bring it up this way. Into the brow. He's got a furrowed brow. What am I going to emphasize here? While I might emphasize this bulbous nature to it, maybe a bit of the nostril that comes off, comes off into his face. But really, I might emphasize this part. And then the muscles of the brow up here. So you can do a whole bunch of things. Who is it? Owen Wilson. He's got almost like a button nose. There's lots of things that you can play with. Guys. I want you to understand that once you have this basic thing down of the circles, whether it's a circle from straight on, we're looking at the nose from straight on, whether we rotate it and it's where we can barely see through or whether we rotate it all the way. We only see one of the nostrils. It's important to know that this three circle combination, even if you exaggerate, it, still kills. It's an awesome simplified way to draw the nose. So yes, you could focus on more details and nostril hair and all these kind of things. But that's not what we're going for here. I wanted to teach you simplified skeletons, simplified structures, simplified noses. And so this in a short period of time has really helped you understand how to construct a nose. Focus on this. Then you will see where it sits, how it sits as you turn. You can make the bridge bigger, you can make it smaller. It's up to you. You can expand either way. But once you start with those three circles, you're set as well, guys, I've got a practice sheet for you here, so you can practice with different noses here. There's different shapes, but also, I want you to play with caricature. See how far you can push it this way or this way, or this way come hanging and stuff again. And what does it look like to you? How far can you push it? So I don't care if you're tracing on these people's faces or whatever you're drawing off their side. I teach you to study, sometimes to trace it, copy it, and then create it. That's the step here, guys. You should be able to study it. Tracing over sometimes whatever. Copy it, go side-by-side, draw it and make sure, okay, now put that paper aside and draw it on its own. I guarantee. After doing this unit, you could grab a piece of paper, draw three circles and make a note, and then do that a 100 times. That's your assignment. Copy it, or trace it, copy it, then created on its own, and then play with the proportions and stuff, guys, that's noses. And I still don't think mine is very big. 7. Mouths: Hey guys, I'm back. And in this unit we're gonna talk about the mouth. Do you see how I tried to overemphasize that? We're gonna talk about the mouth. And I think it's important to understand where a lot of people go wrong when drawing the mouth. There's some structural things that people really miss. And I think it's very important for us. So when we're starting off at the mouth, we're actually going to go behind it. Started off at the jaw. Let's jump into it. Here's our basic skull. I know you guys have done this way too many times, but we've got our structure like this. Something along those lines, right? So if I was to draw it again, draw it just beside, come down. And it's our basic skull structure. If I want to, I can even decide little eyes, the nose, my ugly teeth. That's not what we're doing here. What I want to show you is that there's something happening right at about the nose line, right at about here. And we can see better from the side here. If we draw the skull from the side and we bring it on down, we've got that jaw that comes up into into that side that right. But what happens is this jaw doesn't, so I'm going to draw it again off to the side here just so we can kind of get it getting going on. Where the ear would be. This, I think it's starting to look more like a skull or a head. You see it away from the skull. Well, what happens is this is a hinge point. This is where the jaw hinges. Right in here. You can see how it hinges. What happens when a lot of people draw this and they want to draw the jaw moving down. So let's see if I just to simplify it, coming down here, what they'll do is they will just simply draw this. And they'll say the melt is open. You'll see that a lot. And even though bugger this one, you'll see that a lot when somebody wants to draw the mouth open. Although do is drop the chin down. It'll be this disjointed. I get it. That's kind of an easy thing, but there's two things that happened in the face gets way longer than it should be. And to the way that we see teeth and everything in here changes because when it just drops down, we're still gonna be viewing them from the front. That's a problem. We're still gonna be looking at it straight from the front here. What actually happens though, and let's see if I can do this. So it works well. What actually happens to them? Maybe I'll draw some teeth in here just so we can kind of see. Alright, back to this. What actually happens is The rotates, it drops down this way. Now, why is this important? Because when we're looking at from the front, instead of looking straight at these teeth like we were straight here, we're looking at this street row teeth. We're now looking down at them slightly. We're looking at them from this angle. So let's see if I can do this with my face here. Not the greatest teeth, but they're okay. Normally you're looking at them straight on like this. But as soon as I dropped my jaw, you start looking down because here's our eye level. And as soon as it goes below eye level, you start to look down at that. If I just dropped the jaw down, you'd still be looking straight at it. But that's not what's happening. I can't do that. Instead, what I do is it hinges on the jaw and at angles so that now we start to look down at all of these things. So our viewpoint, instead of straight on as if we were being lazy and drawing it that way. Our viewpoint instead is we start to see some more of the teeth. Especially if it, if it really hinges down. There's fangs and stuff like that. What are we going to see if it's really opened in somebody's snarling. What we're going to see is straight on here, this straight road teeth. But as we start to look here, as our brain is able to see that, we will see. And let's see if I can get a better. I'll see this. But now I get to see the tongue. I get to see this surface, I get to see this tooth and I get to see this. If we had just dropped a straight down, everything looks the same. We might have tried to draw a tongue in there as something that it doesn't really work. Please understand that. When we're looking at the drawing the mouth, the jaw comes first. Understanding how the jaw looks is really important and how it works. Now that we've got the jaw down, we're gonna get into teeth a little bit more. And you could see, what I like to do is draw the front for here. The front for, for me. The easiest. I just kinda, you can partition it nice and easy. All right. Then after that you get into your canines. Then it starts to get into molars and semi molars and all that kind of stuff. And these ones down here, they get flat. They flatten out on the top right. These ones are kind of sharp, like a plate. We can see them, how they're fine line. And then these get a lot flatter as we're drawing them back. Just exactly how I described what we can view here with this mouth opened. Instead of just looking straight on as if I was looking at this skull. Now get to see some of the top of the surface ones going back here. Your choice. This is one thing I usually advise against, but your choice whether you want to draw individual teeth or not, it's a stylistic choice. Really up to you. Do you want to draw just the outline? The gum? Where are you going to emphasize? You can draw just bits of it. You can just draw a hint. Because if I'm drawing this, I have a row of teeth here. That might be enough to capture what I'm trying to go for with this mouth. If I back that, Okay. That's enough. I think I might even, You know what? I might even take this stuff away and just say that might, for a cartoony feel and be enough. Or you draw every individual tooth. Then let's see how this looks. If I draw the lips, this is a very rough sketch. Obviously. You could go in and render the teeth even more. But I don't think it's going to do what you expect it to do. That is not very attractive. A hint of teeth, the white outline or something like that. Generally I say this is the better stylistic choice. Now how much detail? Again, it's up to you. The one thing that I would say is practice. Practice on what you can see from different angles. I told you about the front for that I like to draw as just almost a block unit. So I might draw them. Here's my center line and I might come off like this. There's my four. Then I've got my canines. I know something's going into the back here, the molars, and I start to draw the details. I'm using these Kansas a bit of an example, but I can draw below here too. They start to go received back. As we go back. I want you to be able to wrap it around an object to realize that they have this U-shape. Now if you want to use a cannon, if you want, that's okay. It's not a perfect examples. Like I said, it's more of a U-shape, but you've gotta be able to draw your fun for your canines. And then those that go back from there. How we view it. As it angles down more, we get to see more of it. If this jaw was, let us say all the way down like this. Well, I can have a tongue there. That type of thing. From this view, I would see so much of it. And so I'd have to draw more details of all of these teeth going back. The wider the mouth, especially in comic books, we can open that mouth really wide. Then the more we're going to see. Even though I hinted at you, you might not want to draw every detail here. If it's a character like venom or werewolf or something like that. Yeah, get in there, draw all those fangs, draw all those teeth. Start to look at how wolves mouth's look or something with the teeth. Keep in mind that we don't always want to draw the teeth straight on, flush like this. The mouth does not drop straight down in angles back. And so we're gonna see tops and bottoms to teeth depending on sql positioning, skull moves back. I'm gonna look up and I'm gonna see the top of the bottom of the top row of teeth. That's the biggest mistake I see everybody make when they are drawing mouths, lips. We're gonna get into in another unit. But I wanted to have you set correct. That you could draw the jaw, the teeth, and how that moves so that you can move on to The prettier things and stuff. Guys, what I would recommend is practice drawing this down below. Say, here's, here's the lips. Will get into that later. Here's the teeth. This lip comes below. And then make your choice of do you want tons of detail in there or not? How does it look when we're looking at a mouth open? How many teeth do we see back here? Play with it. Enjoy it. I've got a lot of examples here on your practice sheet where you can use the canning lids if you want to practice drawing on top of, you can draw your first four. Then start to draw the teeth from there on back, or drop it off to the side here and try to follow that sweeping motion. Look at how he's looking, look at how she's looking, what do I see for the teeth? Whereas the construction on the Gator, whereas its row, whereas its hinge, try to look at these animals and see how similar is it to what we were just talking about? How similar is it to the structure of the jaw hinge and how many teeth we can see back. But I'm gonna tell you whether it's animals, whether you're drawing this animal. Street next to it. Here's the hinge and it comes out, Here's this. And it's going to come back to this hinge. And then what am I gonna see? I'm gonna see this, but not this road, this was not visible. I'll see this row, this row up to that point. That's why I put this practice sheet in here so that you can practice with people, animals. Start taking picture of yourself and look at it and say, there's, there's the angle, That's what I can see going on there and stuff. The teeth are so important and there are a huge importance when it comes to stylistic choice. Whether you over render and put a lot of detail into them. And it's really very, very clearly defined. That'll have certain look to the picture, whether it's just simplified, that'll also have a look. But the structure is the most important. Now that you've got this, you've got the structure down. So guys, I hope you print it off both of these worksheets. I hope you are following along with me and I hope you practice on the second one. If this was too fast for you. Well, that's kind of the magic of video and stuff. Stop it, rewind it and say Hold on. Edx, drawing those teeth. Okay. He's got those front for the front for and he follows up with a canines. Yeah. And then he starts to head into the molars and they're kind of flattish. How would that look if I'm looking straight at them? Well, they would be stacked behind each other so I wouldn't see that much. Let's see if I can just give you a little example. If I'm looking straight at them, they start to get stacked stack and I would no longer see that. They would start to block each other out. They would be behind, behind, behind, and eventually you don't see them. Play with this guys, have fun with these worksheets. And next unit we'll move on to something a little bit prettier. 8. Lips: Hey guys, I'm back and I've got another unit here for you. This time. We're talking about lips. I'm trying to do my best duck pose here. We covered mouths already, but that was more of the structural thing. We talked about, the jaw and all that kind of stuff. If you don't have that down, make sure you go back to it. It's, it's really important. But also important is how we deal with lips, the covering of the mouth. They can be nothing special, or they can be the focus point of a character. It's up to you and partly up to her how I teach you here. All right. Do we have the skills to convey what I'm trying to do here? Let's see if I have the skills to teach this lesson right now, right? Let's take a look at it. Okay, so who do we got here? We got Ruby Rose and her lips really, it works like she's got a good set of lips on are easy to talk about. I'm going to show you what I do in relation to lips. The external part of the mouth. Real simple. When we draw like a happy face, what do we do? It's like this. We have the mouth. It's, it's pretty clear. In a simple line from one corner to the other corner. Works. It's really that simple like that denotes a mouth. If you have eyes, nose, and this people will know align means a mouth. From this point on of a simple line to more detailed is your choice of how you want to express it. How much rendering Do you want to have? How much details? I'm gonna show you? The formation of ellipse. What I like to do is off of this line I like to draw. You can even cut it in the center if you wanted the line. I like to draw a circle up here, a circle to one side and a circle to the other. Once again, I draw a line, cut it in half, draw a circle up top, circle on the bottom of either side of those lines. Why am I doing that? What does that then start to look like? Well, for the bottom, there's often a lot of mass that comes in this type of shape and this bulb down near the bottom. And then this comes up to the corner and comes up to the corner. You will see often there's a bit of rendering here or something, right? It has not much shape to it. It's got a lot of weight down at the bottom of the lip. Almost everybody has pretty salted lip. A lot of people don't have an upper lip, but most people got a pretty decent a lower lip. Up here. What I use this as maybe halfway through the circle or so, I use this as my marker for the V-shape. There's a little bit of a mass that happens here. And so that's why even use this a little bit to help me. And then I bring this in here and down to the corner. Bring this over here. And down to the corner. You'll see there's even a little bit of a cleft or pointy ridge in that. Now that I've got this going on, this is a nice set of lips. I might even poke it in at the sides a little bit to see if that helps emphasize it. What do we do it off to the side here, we'll practice together. Okay, so we'll use a slight U-shaped to come around that bottom circle and come around that bottom circle up here and up here. And I kind of forgot to draw this in first, but it doesn't matter. I can come here and come here. The sharpness of this V is up to you. Some people have a really sharp V, others barely noticeable. And then we'll come out this way and come up this way. So that's a nice looking set of lips. Like I said, if I back this ODE, you can see that's clearly a set of lips. What I want to do is practice a few times. What we want to do is draw a line. If you're constructing your skull, you should already have this basic lines setup. When you draw that mouth, that bisecting lines should already be running down the center line of this, your face. Then you come in. You can have whether you're drawing your roughing it in first, or whether you're just winning and you're like, Okay, I know this will be here. I could come up, come down. You can have it a little bit more angular if you want. Just realized that the shapes here that there's more mass on the bottom here and the divot. And maybe sometimes the point that's up top here. Alright, now we're gonna do this from a few different angles. We're doing it from the side a little bit because here's our cut line coming down to the chin or cut line comes through here. This mouth has more on one side than the other. So if I draw this line here and here, instead of right center, it's actually going to come something like this. So how does that look? Well, this might be ahead of this one a little bit. I'll draw it off to the side. This ball might be slightly ahead of this one, not by much but just by a hair. Then the one up here. All right, what are we gonna do? Well, we can start here and bring it down to here, down this way, and up to here. There we go. Okay, so we can see how there's maybe a little bit more mass on this side. Because this is the side that's closer to the viewer or camera angle. I want you to practice this a few times. Just line, line. Like that. You can start to mix it around and I haven't small, have a bigger do a few things that That's why on these worksheets that I give you, I leave you so much room that when you print it off, you can doodle off to the side. You could do it all above. You could do it all blow everywhere. I tried to leave you a lot of workspace room that you could get it. Now that we've got a basic set of lips, where do we go from here? Well, not everybody was constantly in a tense pursed lips stage, we open it, we express ourselves, we're talking, we're smiling, wear whatever. How do we show that? Well, let's see if we could do the same thing. Here's the melt line. So we've got this actually it's a little bit officer there bisecting line here. Normally what we're gonna do, we're gonna draw that up here and down below, but the mouth is opened a little bit. So I'm going to have to drop it down. The lips. The bottom would be here and the mouth would be here. Problem is this. We can see it has been pushed out, like it's moved out this way. We can see that by the face and most likely if we light it up, It's a wider mouth than what's a straight shot. So if this was a straight shot and she's not smiling or stretching, it probably be yea big or whatever. But she's stretched this out. So what happens then is when we're drawing the circle up here, it also gets stretched out. And when we're drawing the circles down here, they also get stretched out. The amount of mass. Instead of being lumped up and relaxed, it's stretched and everything gets narrowed. What looks like a fairly meaty lower lip is getting really stretched out here. So we can come in here and realize that, yes, there's still this mass here. But boy, is it ever stretched into more of an oval type of thing? Right here, it comes up. Here, it comes up and out. We can have this nice stretch going on here. Same with above here. This one can be the instead of a harsh V, We could do this harsh v is, v has been stretched out and then comes out this way, and comes up this way. Then it's our choice. You know, how do we want the teeth to look? We already discussed this in previous units. And what you can do is add those little stretch marks, the impulse, but the pinch marks and stuff. We're going to keep practicing bisecting. Bisecting below. Have the circle, two circles. And this could be, you know, what I'm gonna do, I'm gonna start to change the proportions a little bit. I'm gonna have to really big circles down here. If I start to draw it too well, I'll start to draw it this way. This one's stretched out a little bit. Stretched over. This one's a little bit under this way. But even though they're bigger, I'm still going to have it stretched. There we go. Here's some really full lips, but you know what? Why don't we make them even fuller? Like I want to really cartoon eyes, this set of lips. I'm going to do this a little bit different, almost like a heart. I'm still going to have this pinch down here. She's got a lot of weight to these lips. And then even look at the mass on the inside of this lip. I'm gonna follow that a little bit. Bring it up this way. Follow this a little bit. Bringing up that way. We can draw these textured lines. While these are great, exaggerated lips. While still keeping the basic construction of at all. That's the key point is now that we understand if we have this basic form there, we can start to blow up the proportions a little bit and everything. But we're still keeping that basic, basic structure. And that's what's important here. I'm gonna leave this next one, so I'll rough this in. This is what I want you to do. See if you can really work on these a little bit on your own o-chem below this one out. What are you gonna do? Make them very narrow lips, make them very wide. I've been pulled for dude, my lips are pretty big. I'm partial to big lips. This is where it gets important in my mind. Doing it from the side. Here's this rough skull that we've got going on here. Comes up probably to the ear somewhere around here. How do we draw an ellipse from the side? Well, we can still, here's this and it's actually come around to this point. Here's the edges of the mouth. Here's one ball, and here's the other ball. Remember, when objects are overlapping like this, we can draw through them, but we're just knowing that it's covered up. And this one is here. So how do we then make the formation? We can do that. We can do this. So once again, off to the side here, we can do that. And we're gonna do this. We bring it up to here, bring it around back towards this pinch point, and we can even do a little bit of an overlap there. This one is coming here and this is where we could see this almost ridge, how it comes in forms in there. It comes back down around and up that away. If we do that here, this one's gonna come around and up. I guess it would have helped if I would've I'm giving myself some more room here. Let's say that this one's gonna come up to their lipids going to follow this. It's going to come up to that point. This one will come down to that point, up and around. This will come up. And then over here, I kind of pinch myself into a corner. It would've been better if you guys would probably come out here and do the same thing, draw it up there. Draw it down there. And this will come over center line a little bit. And then here, but because it's closer and it's angled, it's gonna be pinched moral and moved in on this side. See if we could do it for a closed mouth. On this side and this side, looking at how unequal that is. This side and this side. See the spacing in-between here and here. Obviously because of the tilt. We've talked so much about understanding how when something wraps around a form, how it changes, how it starts to get shorter on one side or something like that. How that line bends. That's an extension what we're doing here. So we would be following the construction lines of the face that would follow this everything this would probably lead up up to the center of the eye is depending on hurt proportions, but we've got that. Okay, So what do we do? Same thing. Here's one, here's the other. And you can see how my circles, this circle is starting to come over that center line, the circles starting to come behind the center line. The circles kind of leaning off to this side of the center line. Instead of actually I'm gonna make it more of a heart-shaped D for this one. Just because look how I come down to that. And I come down to that. I'm kind of giving her a fuller upper lip here. Come down to that. Come down to that. Give a little bit of space here if I want. Giving a little bit of a pout up to here. And then there could be even some little bit of mass here. Again, you can render, usually if you're going to simplify rendering on lips. The weight under the lip is one key point. Under this bottom lip is a key point. And then a little bit of texturizing where you could see the lines and stuff. Again, this is really turned. So let's practice that. It's turned here and it's probably wrapping around, I'm gonna be here. So that means that there's some wrap-around here for the mouth. If we do it here again. So this mouth is wrapping around. This is where you practicing with teeth. Remember how we even did the alligator? The alligator one. Rapping round, realizing that the teeth will wrap around the object. Whereas on the top we'd only see probably this part getting used to. How are all these forms wrap around object that's kind of mastery of the face. So you really got to have your head in the right place to get this down. But again, look at the forms. Look at the forms. Everything stays within how it should right here, this one's kind of put this one up a little bit. You can change the flow of lips a little bit. This one's going to come and I'll bring the bottom. This was our line here. I'm going to bring it down to here and bring it up over this way. Okay. So how do we get the lower lip? Well, I could add a little bulge here if I want. Come down this way. Come around this way. What's going to happen is flip that a little bit but see if I can get rid of that line. It comes to that point there. And as we turned it all the way around, it's going to be on both sides, so it's going to wrap around like this. The two circles will almost be intertwined. This one will be here. And we may not be able to see. V probably won't be unless it's somewhat angled. So then you go like this. It depends on how you define that little heart-shaped v thing or whatever it is. Our ellipse looking so far, we've got a lot of lips. Now that I've shown you how to draw lips, I'm gonna show you how not to draw lips. Because generally speaking, okay, I'm a guy and my lips are especially wearing this shirt. I'm just realizing how red it is. Pretty dominant or predominant. Very easy to see on me even with a beard. When we're drawing guys. The more definition we give two lips, the more feminine it looks. When we're choosing the difference between guys and girls, especially in the face. Girls, we usually add more details in the eyes and the lips. For men, we add more detail in the brow and the cheeks and jawline. Really simple rule here. So if I was to draw this guy, this guy being prisms worth, I might just do that. Let's try it again. Now I might remember how we have these two balls here. Well, Chris hammers also has two balls. I might still put them in there, but I wouldn't render it. What I would do, meaning I wouldn't do a permanent line. I might just do this. This again, might just be this. And this. Then maybe if I want, I might put that small little dividend top there. That might be as much as I draw for a man. As soon as I start drawing it in. What does it look like? He might have these lips here, but it looks like women's lips when we're drawing them. So my advice is always your choice. You render how you want to render. It's your choice. But realize that the more details you put in here, the more it looks like women. If you want to just have a man's looking mouth, it could be as simple as these lines straight across underneath the divot. You can even get rid of that. Look, if I was to do this, That's all I need. You can even make it that simple. Your choice. Your choice, how many details you add in here. I love adding these little corner pieces in here, right? So for him, maybe that's all I would put for a guy. For women, I would flush it out a lot. For a man. Avoid hyper detailing it. But again, this is your choice if you want. A man is more sensual. Cover of a romance novel. Fabio hair, maybe you're doing fabulous lips. That's up to you as a creator. That's up to you as the artist. All I'm doing is showing you the basic construction of it, basic rendering, and then the choice is yours, how far you want to take it. Like I said, this still conveys lips down here or a mouth rather. Guys, I've also included this extra little bit for you as a bit of a worksheet and go on through it at your own pace. If this video was too fast for you, rewind, play it again. This is the wraparound for lips are tough if you don't have the wraparound for the mouth. If you don't have the wraparound idea for the skull, if this wrap-around thing is too difficult for you right now. If you're finding this really complicated, if you're like, I don't understand what it's talking about. I can't why would this be hearing this be here, but it's back when I tried to decide. You miss something, you got to go back and understand how forms and shapes and these these landmarks of a face wraparound are curved. Heads. Guys. Hope you enjoyed the lips and go ahead and draw a whole bunch of them, send them to me. Go ahead and draw mine. Let's see how how interesting they look. I have fun guys. 9. Ears: Hey guys, I'm back and I've got another unit for you here that I think you're going to like, I find it super easy. So I'm hoping I can convey that onto you. We're gonna talk about ears. Specifically the outer ear. The inner ear doesn't really have much to do with us, not for what we're doing, for trying to draw most of that. Let's take a look at the outer ear for a second here. All right, So as I zoom in, there's some key points that I want you to recognize a little bit to drag us. Oh, sorry, I'm gonna the the helix, the loop. The rest of this is all there and it's important, but it's not as important as for when we're drawing, when we're looking at an ear, we're usually seeing this, this upper ridge into the helix, this knob here, and this lobe here. Let's take a look at how we, what we see here. We can see that that upper ridge going along here. We can see the Dragos nob and we can see the lobe. This is basically what we're seeing here. We're seeing this, this, this and this. Once you understand that you don't stress so much about ears. So let's say I'm drawing, Here's my bisected head. I've got my simple, simple skull going on. And of course we know that the eyeline leads to the insertion and starting point of that upper year. So it's gonna come there, it's going to come here. All I'm gonna do is draw a simple year that starts on that island. That's it. I'm going to draw that. That in itself is sometimes enough to draw your ear. You don't need any details. See if I get some more room here. We're going to draw this, this eyeline, going to come here and draw this. Now we can do a little bit of shape, the shape to it. We can have it nice and round like this. We can have a going up like this. We can have it going like this. Everybody's a little bit unique in your design. It's up to you. But if we want to add details, this is how we're gonna do it. We're going to come and have this knob here. We're going to come from behind it, come up. Then we're going to just put a couple of little lines in there for some details. And the loop, again, we're going to have this nub coming up here. Usually I like to run the jawed down from that point, come up. And then we can have some small lines for the inner side. Let's see if we do this off to the side here. We're going to come up, come down here. We're going to have this little nub that comes down into the jaw. We're gonna come up for the ridge, come around, maybe draw a little detail there and have a little bit for the lobe. Some people will just lobes are connected. Some people's lobes or not, they hang free. What do you think so far? Is it really complicated? Not really right? Like if we're gonna draw becoming here and we draw the head, something like this. Well, what do we do? We can draw the eye line is here. We're going to have that nub start below it. We're going to have the helix come up around and have the lobe and that kind of thing there. From this angle we might see almost nothing. We might see just the outside of the top there little bit of lobe. And that's it. That's just kind of looking off to the side here. He's got an interesting design lower lobe and he's got some, have a feeling he's been rubbed a few times. We got cauliflower ear on the go. Again, we're looking at this simple head construction comes down, we come up the jaw line and come around. Comes here, starts and comes in. So let's try that again here. Starts up and comes in and comes down into the jaw. So what do we do? What does that little nub be called again, the tragus. We're going to have that come from below and have the helix part up top here. I'm going to have different types of details of the inner ear lobe. And then we're gonna have the lower lobe here that might come around. I would minimize how many lines you have going on inside of the ear. I just don't think that all of the folds are really, really, really that needed. I usually just kind of might have something like that, some simplified version of it. What I want you to do is practice drawing the different shapes of years and see if you can get some of the details down from it. See if that makes sense. These almost look like bat ears now that I'm looking at them. Yeah, that's kinda weird. This one is more of the typical figure eight or butterfly wing effect. Then down into the job. So do this flop, old floppy here, lobe it. Oh, he's got some weirdness going on in here. Doesn't take my course really like, oh man is making fun of my ears. You can have lots of fun with this. Start to draw your own way. Start to make your own designs. That type of thing. That's what I want you guys to do. Here we go. So look if we were to make it a healthier, how would I do it? Well, it's still starting off that same formation. But the tragus there, the helix comes up to here. It folds in. Maybe it comes up this way. I've got a lower lobe and then I've got the different folds inside. Guys have fun with this. Realize that when you're drawing a head, anybody years work? Big, big Dumbo ears work. Figure eights. They all kind of work as much as they need to work. The choices, how much detail are you going to put in now that you understand that basically, you can minimize it with just a few simple lines. Well, this just became super easy. Adding those details in, details in art, super-duper easy. That's why I say this is a very easy unit. I don't know. For me, it is really like if you're drawing it from the front. From the front. Oh geez. Here's from the front. All I do is this. That it's not simple. I can change the shape, I can put it closer to the body or something like I can even have less details and it's just barely showing as it turns. I just find ears so, so easy. Especially once you understand just some of the basic key points that we're usually looking at. I want you to understand that you're usually looking at the ear from the side or from the front. Once in a while you'll catch it from the back. But I think you've got to go for that. I've also included another worksheet for you here, a little bit extra that you can do. We've got Barack Obama, the rock, a few others. And what I want you to doing is play with it. How would the proportions of the ears change? What do small ears on a character and make it look like? What do ears that come forward even look at me now, I'm going to pin my ears back. It has a certain look to it. What if I move my ears forward? That also has a certain look to it? If I pinch them in, they have a look. Some of these looks are not attractive when we're choosing ear size, shape, pinned or not. It has an influence on our character designs. Now that you understand the basics of constructing the ear, you got to make a choice of how do you want your character to look? What message do you want to convey? Guys, practices, worksheet, practice, practice, practice. And I'll see you in the next unit. 10. Proportional Placement: Hey guys, I'm back. And in this unit we're gonna talk about proportional placement. Sounds really complicated, but it's really not that bad. Basically. Where does everything go? Like, where do things shorter? Lineup know we talked a little bit about this whenever we talked about structures and everything. But I want to give you a baseline of how you can line things up. Because as you go through the units, it'll kind of set things in the right place. Now eventually, we're going to talk about variations on all that. But for right now, this is our proportional placement baseline. I was gonna say baseline. Let's jump in here. For this first figure, I'm going to be drawing over a lot of this. For this first figure. We're gonna, we know that we've got a skull underneath that. And let's just draw some lines here. There's gonna be so many lines. This is gonna be an ugly, ugly worksheet. Here's our top-to-bottom measurement of lines. From the side. We're going to go with Here's where the her eyeline is. Here's where the noses, Here's where the mouth is. Interesting. If I'm looking at it vertically, this To this is not bad. It's my bump. A little bit like probably right around here is more like 50% of the way, but proportionally, top to bottom, we can kinda go half and half with this particular face, this particular model, little bit lower on the bottom end, but we're close. Now how do we divide up this next half? This is where it gets a little tricky on this particular model. We've got a large gap between the nose, the mouth, and the chin, and then a very small space between her nose and her mouth. If I was to do the same thing over on the side here. Let's see if we can do this. He's also got a longer lower one, but we can see that on the bottom spacing here from the bottom half we've got 123. They equal no, his chin is very big. What I would try to do, what I could suggest you aim for is from the middle to the bottom, go thirds as a baseline. The nodes could be here. The mouth could be here, the chin, and the eye. That's a baseline. That's how I would suggest breaking it up vertically. Not everybody's gonna fit that mold. That's fine. We don't expect it, but that's an easy way, is the rule. Do half, half, and then 123, somewhere along those lines. Now how do we break it up horizontally? Well, there's some key features I want you to notice. Usually the middle of the eye and the mouth line up. And usually the insertion of the Chronicle there and the nostrils line up. If we want, we can draw bisecting this little off on that. I would say it's more like this is a nice bisecting here. We can see that she's not perfectly proportioned. Don't tell her I said that. But it's important that we noticed that her nose is a little bit off on one side and that happens. The other thing that I would say is look at I size on her. Her eye size would place us at around 5.5 eyes across. That's pretty large for the width of a head. She's got quite small eyes. The average person I would say is five to 4.5. Or even for what you could do them when you're drawing. That is, for example, here's one I, here's another eye. Here's a half. And here's a half an eye, that type of thing. This guy here, Dave, he's got a lot of space in between his eyes. That's just his genetic makeup and stuff. If you want to start drawing that. What I would do, for example, like I said, is draw one. I hear when I hear, when I hear, I would enlarge it and then half. And that would be the end of that face. Half and that would be the end of that face. And that's how it will do it proportionately. Perfectly. Again, don't tell her. I said that I would make the eyes a little larger. Again. This was drawn off of, off of a reference. And so. Individual variation plus maybe the camera, that kind of thing. I would also note that, generally speaking, coming up from the caruncle, you've got your eyebrow. Hers comes in just a little bit so you can angle that in just a little bit. But that's kinda how it works. And why don't we pop over here and see if this holds true. His is basically straight up from there. So far we've got what's important is this top, bottom half. Then on the bottom half we divided into 1234, nose and mouth. When we're dividing up from here, we might put a roll of eyes. And personally I would aim for 34. I would aim for about four actually, and we go half and a half on the sides. It depends. I liked that comic book look. Comic books have a little bit larger eyes, so usually I do four cross, 1.52.53. But realism, you're more looking at five across. In this case, 5.5. Then you can start to draw the markers down from the middle of the eyes, that type of thing, from the insertion of the eyes, of course, you can make the mouth wider. You can make the nostrils narrower. It's up to you. When looking at the proportions though, I want you to realize whether we're going off of the side view, the front view or anything like that. When the head is level two, you, it's very easy to say, here's one, here's two. I cut it. But what happens when the head is at a bit of an angle? This one is angled this way slightly. When we start to look at it, we would be coming along this way, along this way, along this way. And then where does this actually go? This curves, this curves here. So you'd be right about there. From this perspective here. Wow, this looks pretty bad. His eyes, even though it's the same guy. The gap between the forehead and the lower part of the head seems to have grown. It didn't, it just rotated. What's actually happening here is that there's this rotation and you could see, because this is where it's important, the ear is actually the same level as the eye. When we look at the insertion of the ear, it's on that same line as the eye. And that's about, it works for him and it works for me too. If I draw this, you can follow my wrinkle, draw it all the way here. You can see how it starts there. If we're being better with our reference lines and stuff, I get, we start to notice. It actually goes like that. And so our proportions come back in place. Does that make sense? Same as if we're turning it down? We noticed that Sure, Here's the top and here's the bottom, but the top is actually going to be more along the lines of it would be right here. This is where looking at his hairline and everything, that's that's where it would have been. Right. It's bending down this way. If we come across here, is eyeline would be somewhere here. Mouth, his nose, that type of thing. Okay guys. Hopefully this unit on proportional placement helps you a little bit. This is just kind of a simplified approach to it that you can say, okay, this is where it starts. Now I'm gonna move it around. I drew out a whole bunch of faces for you here, rows and rows of faces. Some of them you might recognize. What I did on a lot of them is in the next row, I edited some things. I edited some proportions. There's two things that you could do here. One, I would recommend, use this as a practice sheet. Use this to draw what you see above and see if you can do some of the measurements you're like Okay, here and here and here. Use your hand. I come in and use my hand and I squeeze it in and use my head and squeeze it in and say, Okay, Well that's the middle line. I start to draw it in. So I want you to, we're going beyond just understanding like tracing where we're copying below now and stuff again and using our eyes and our minds to understand the proportions. You can measure it with your hands a little bit there. Maybe do that on the first row. That's a lot of good practice for you. That is probably a good hours worth actually. But now when you get below, take a look and see if he could find some of the changes that I made. I went through and made lips bigger, stretch mouse, move them around, move eyes around these types of things. You've got to hunt for them. If you don't find them, make them yourself say, okay, I'm gonna draw this exact same head with all this. Going to make it bigger eyes. I'm going to play with the proportions. I'm going to expand them. So instead of being five eyes across five eyeballs, it's actually going to be for something like that. Right now. I'm gonna make it into more or even three, make it into anatomy. Look with big giant eyes, right? Guys. That's your assignment here. One, understand the proportions and I've talked about here. Understand the how you can bisect the face and then you start to cut, cut, cut, cut, and then you cut it horizontally as well. To understand that, when you pivot the head, look for landmarks of where you are pivoting it at. And then realize that, okay, well, this normal cut mark has, has been moved across this round form. Pretty sure you recognize this. And so even though this is a straight line, as soon as we start bending it, we got to recognize where does it actually come from. Once you've got that, go down, spin in our practice, drawing these faces and stuff. You can use a sheet again at the end of the course and you'll be like so much better drawing all these features and everything. But right now use it for plotting the placement of things. Even if it's just a simplified I like you don't have to make it all pretty because you haven't gotten into eyes yet. Watch the placement. Try to line it up where you want and then start to play with that placement, starts to move it around. Guys, That's your assignment for this unit. Have fun with it. 11. Realism vs Comic Style: Hey guys, we're back and I've got another unit for you here. This time we're gonna take a few minutes out to kind of compare realistic proportions to more of a comic book style. Now, I want to be clear on this when we talk about comic book styles. And then we move into realism. I would say large portion of that is rendering. What does that mean? Well, when we look at comic books styles, we often have simplified forms, simplified lines. It's just nice and simple. It's one line. And that's all it takes. When we get into realism, we see that it's been painted in blended and everything's been smoothed and then, then even color is applied and all these types of things so that we have a very realistic look. It's painterly like. So when we look at realistic paintings, all the definitely add form, shape everything through every means possible. Comic books started off with simple print and they couldn't print like that. They couldn't print with that high definition detail. Instead, symbol lines. You'll look at early comic books and stuff. I got just simple ones. Newspaper print, very simple lines to show very simple form. As you start to get more detailed in calling the forms, you start to add hatching and different types of rendering. That's a little bit different. What I want to cover here more. So when we talk about proportions, We have a realistic face and then a comic book face. They really that different. Let's find out. Here I've got a few faces done up here. The girl on the left is a good-looking woman. I know this because she was my girlfriend. She's she's a good-looking girl. The girl on the right though, is much more comic book style, right? There's, there's more of a comic book style to her in how do we capture that? What's the difference? Well, let's break it down and see if we can figure it out. What I've done here is I've put the top and bottom lines, top and bottom there to kind of show where their heads would be. Right? So we've got that. That's seems like it kind of works. But what about where everything else is aligned? Well, we can take a look horizontally here and see this head is slightly tilted forward, so there's a slight variation, but here's her eyeline. Here's her island. That can be part of it. Here's the notes. Here's the nodes. We can see already. Here's the most, Here's the mouth. If we look at from top to bottom here on this, again, there might be some slight head tilt, but we'll take a look into it. This compared to this, this top is just a little bit bigger. This one's almost perfectly equal or the bottom half is a little bit bigger. And where's that spaced out in the bottom half? If I look at these proportions between the eye to the mouth, It's almost all the same. Actually, this looks really similar. The eyes to the mouth, almost perfectly comparable. It's this chin area. Look at the size of the chin. Real people have a bigger chin and we'll get into a little bit something different there, but bigger chins are one of the factors. The other factor is, like I said, I think this character is might be slightly tilted down, so that could be a factor. Another thing that I think is important once we get into, Let's zoom in a little bit. Once we get into we'll we'll take a look at her eyes. She's got a wide spacing between these eyes. So if I was to draw her eyes, her eyes are fairly wide space. This might be a little bit of the camera playing tricks on it. It might be flattening out the face just a little bit. But we can look at this face and this is five to six eyes across here. When we look at where the eyeball would sit, we'll look at her eyeball. Maybe a little bit bigger. This one's more like just under five. You can see that when we're looking at the more realistic proportion, the eyes are a little bit smaller. Make sense as we get into comic bookie things, the eyes get little bit larger. And then when it comes to Manga and all that kind of stuff, they can get really animated, get really exaggerated. So that's one thing. Anything else that we're noticing here? Look at the nose here versus the details here. On this one. When I put the outside of the nostril on this one, it's not even there. And if it was, it would be much smaller. Smaller feature knows, bigger lips, even though my girlfriend's got pretty big lips. These are these are lower lip has a lot of weight to it. Bigger eyes. The eyes are bigger, bigger lips. Smaller, knows. Yeah, we're looking. This is the cartoon or comic book. Look. Let's see if this carries through as we go into another one here. Might not always. These are different artists, different styles. So I'm going to carry her eyeline over, nose line over them and her mouth line over because we're kind of even top to bottom here. Eyeline over, nose line over, mouth line over. These are lining up pretty **** close. But there's some difference in proportions here. Here's her eyes, a little bit bigger space there, but five eyes across. Here's her eyes. I'll make that a little bit bigger. And of course I can measure this a little bit better. But look at that. That's like maybe one to three with some spacing there. 3.5 for maybe this is for eyes across. She's definitely five eyes across. The spacing of the eyes, the width of the eyes, the size of them, the width of the head. That's one factor. The lips. I don't know, Ruby Rose has got some pretty good lips here. I don't think any comic book character is gonna do her on that. But look at the taper of this jaw, looked at that angle. If I was to have that same angle, I'd be shaving off a fair bit of Ruby roses face here. And it would come from maybe the nose area, somewhere around the nose. So look at how pointy, that would be. Huge difference theorem. And of course they bring this up, but surgeries and stuff I got tried to emulate some of these different proportions, different looks. Don't recommend it, but we have to study it and understand where the differences here. So if we're looking to make a comic book character, the eyes will be bigger, nose will be smaller. Generally less details on the face. Lips, big. What about if we look at men? Well, here's a picture of Chadwick Bozeman, and here's a picture of Superman, remains a little too tilted here. But let's see if we can carry some of this across. His nose is going across, Let's call that the mouth. Gino's over here. His eyeline is here. We've got an island here. Already. Small nose. We've got the chin there. Small nose is one feature. I think that's a different small nose. And again, very limited details on that knows now, this can also be played into ethnicity and how we draw different ethnicities and stuff I got. So let's toss that one aside. Let's also take a look at when we're drawing ethnicities. Whether it's details like the nose or the lips. Those can be important in that character and important in their ethnic makeup. With Chadwick Boltzmann, I'm going to put those aside right now. I don't like yellow circles look, but what I will say is look at this **** chin. Boltzmann's a decent looking dude, but he'd have to have a chin as wide as his mouth. Then jaws that come out straight, straight down, straight down. That's one thing that we would change on men. Maybe. If you're looking for that certain type is at squared, square root off jaw. You can even have that suctioned in look that come down from the cheekbones. And a little bit of details here. Now with men, you can add more lines with women. When we're drawing women, realistic, we see lines. I'm looking at myself and I got lines all over my forehead here and stuff, right. We do have lines no matter what. But when we draw a comic book women, we take away the lines. I'm going to say no two lines. We take away lines on women's face. On men's face though. We might give a little bit extra, a little bit extra focused semester. The chisel in the face and everything. Guys to recap. For women. If we're drawing comic book style, we've got switches, bigger eyes, smaller nose, bigger lips. Let's see if I can write that better. Taper jaw. Anything else? No, I think tape or jawline. That's for women. For men. We've got the chin, stronger chin. We've got that suction cup. Jaw line. I'm gonna stay away from the ethnic features. So I'm gonna say maybe more details. More details. This is a nice and easy comparison between not rendering, but just looking at the structural difference between Realism and comic book style. If you're wanting to get into more comic book style and look at some of the notes here. If you wanting to have your characters look a little bit more photo-realistic, even with simplified lines. Stick on doing what we're doing, guys. It's up to you and your stylistic choices. How do you want your book to look? How do you want your portrait to look? How do you want your art to look? My job is to make sure that you understand the difference and you're able to achieve those differences, then the choice is yours. Enjoy guys, have fun with it. 12. Don't Lift The Pencil Exercise: Okay guys, I've got an interesting unit here for you. I kind of paused a little bit because it's something a little bit different, right? It's just a bit of an exercise for us to just have some fun with and see what we can come up with. It's gonna be weird. So you're prepared to be weird. I'm going to show you two different ways to maybe go about this. The first one I'm going to show you that you can do is use the reference and do exactly what we normally do. Have this circle, find the form, and find the face, right? So draw it right beside. Find the face nice and smooth. Nice and smooth. And find the outline. Why don't we do that twice? And we'll just kinda see where this takes us for a second here. Okay, so do it again here. Find that square jaw that this nude has, and see how it plays out to do it again here, right beside. Bring it down, find that square jaw that this dude has, and see how it plays out. So we can do it that way. But that's not what this exercise is. We've done this a few times and hopefully here you've been practicing and stuff, right? What this exercise is, what's next? I don't want you to pick up your pencil. So I want you to, once you put your pencil down, it's going to continue in a continuous line. I don't want you to pick it up. I want you to put it down and see if you can draw this hair. See if could draw whatever it takes. Enlisted this don't don't expect this to be good-looking or anything. I just picked up my pencil. I wasn't supposed to. Don't tell anybody. Try not to make it up. Okay. And so how do I then go in here? To the mouth? Do the lips this right? Come back up. Do the eyes. Come back over to the eyes? Okay. That was tough and I'm going to admit something to you. I picked up my pencil and I didn't want to. It was just so instinctual to bounce off the page. Right? But that's what we're working, we're working at just not doing exactly what our instincts are telling us to like we're working to fight that just a little bit. And to see if we can fight it, right. It's a little bit different, so let's try it again. This time I'm going to be better. I swear I will going to try this next one. And I'm going to try hair. And Nice job going to come up here, do this here. I'm going to come over and do this eyebrow. I don't want to do the I come back over to this eyebrow and I come and do that. I come into this, knows what am I looking for? And that's it. Interesting, almost looks like a bit of a caricature right? Now, here's a question. When we did this first little bit of an approach high roughed in a bit of a sketch with with that green, right? What if I tried it without I expect us not to be pretty. Let's see. You can see how I'm still kind of aligning things in the way that like there's still that line for the ears and the eyes and stuff I got right. Is it ugly? Absolutely. Does it bother me? No, I don't think so. I think that what's important is that I'm just doing this exercise by pushing away from my comfort area. I'll tell you honestly, my comfort isn't usually like I'm I'm a very sketchy person and I keep it pretty light and I don't wanna do this. So this grounds me frustratingly. So that's what I'm hoping it does for you. Is it grounds you? It helps you think of basic forms, right? Helps you push past comfort that things are supposed to be good looking because she obviously hasn't. It makes you think, well, would this be better if I was drinking? And then how can I make this better? Is it better to start in one area and work my way over? Or is it better to just go with the flow and make it more of a caricature, right? I put these faces here because I found them like super interesting. You might recognize some of them, right? But it's just, it's interesting. So if I start with what's interesting here, the eye, the brow, the head, the folds, the neck. On. There we go. What am I doing here? This almost looks, it looks interesting. Alright. How simplified as this, this is like. I find this fascinating for me because this is so difficult for me, right? How am I gonna do this? How am I going to keep getting texture down here? This is interesting. I don t think I want to spend too much time in this section of the hair. It's just, I think I could spend way too much time that way wrong. That went south fast. Yeah. But that's the exercise, right? Guys. I'm really I'm trying to keep this kinda fun with it, not getting hung up in and being pretty right. Because I think all too often when we're doing portraits were scared to make it look not perfect. It doesn't always have to be perfect. With measurement techniques, you can practice perfection. That's cool. There's a skill in that direct skilled at copies from one to the other. In fact, I'm pretty sure there's a machine that does that. But this is a step beyond that. This is pushing our creative juices into areas of discomfort. And believe me, looking at these drawings I just did is very uncomfortable. There is a certain level of discomfort here and you're looking at these. But I also realize that there's a lot of growth here. There's a lot of interesting things and not necessarily growth in my line quality or anything like that. But growth in me pushing bass, pushing past rather comfort areas. And that's what I want for you. I teach a lot of technical units in this course, a lot of measurement and making things so that you can make an exact. And I wanted to teach you something very, very different. Something that helps you push in the opposite direction. Something that helps you be creative, more artistic, and a little goofy. And I think that's what we accomplished here, right guys, when I look at some of these, I'm like, Yeah, I would've never drawn this normally, but that's exactly what it should be. These should look exactly this way because that's what came out of my pen. Guys. This is your exercise. I hope you can take this sheet and draw these faces and just have fun with it. Push out of those comfort zones of wanting things to be beautiful. Keeping that pen or pencil on the paper the whole time, no matter how much you want to pull it off. And then seeing what you come up with. And when you do send it to me. Yes. I'm saying this because I also need a laugh. Fun guys. 13. Ethnicities: Hey guys, I'm back and I've got another unit for you here. This time I'm talking about ethnicities and realize that this can be a touchy subject for some people. I'm a white male and so for some, that means I maybe shouldn't talk on this, but I'm an artist and I need to draw all types of people, all shapes of people, all dynamic types, right? So you need to know certain differences in ethnicities. Lucky for me, I grew up in a very diverse area and I've traveled the world, lived on a few different continents. So it's really helped me to understand that even though we might have an ethnic group within that group, there's tons of variation. Yes, ethnicities have their own grouping. But we know there's variation and we know that there starts to be overlapping other ethnicities, humans for their entire history, I've moved around this planet. And so we get that variation in our features. Guys. That was my disclaimer. This type of discussion bothers you. Maybe you skipped this unit. But if you're into discussing some of the ethnic variations in features, Let's get to it. Okay, so we're gonna start off with some Asian features. Now listen. For me. I lived in Asia for 20 years. I traveled to a dozen different countries in Asia and there's a lot of different features all over the continent. To say something is Asian is really wrong. There's like maybe in Northeast Asia or Southeast Asian look, and even then there's tons of variation within that. One thing, a couple of things that I'd like to point out though, is that for many Asians, especially East Asians, There's the talk of the eyelid. This is a mono lid, meaning there's no fold-over or crease is just that. It's one of the biggest surgeries in Asia to get this to get a crease folded into it. They like she's got a little bit of it here. I don't know if he could see, but there's a slight crease there. Creases or what they call double eyelids are actually very popular in Asia for surgeries. But yeah, most Asians do not have it or a lot of Asians don't have it. So I'm going to get rid of that. They don't have it. We don't want it. The thing that you want to focus on, for the most part would be that the shape of the eyes is just this nice olive oil almond, I meant kind of shape or something like that. Now as I draw that, I realized it looks way more feminine than I want. I might come in and even do a little bit of a harder line. Something like that. As I'm drawing it. Something along those lines. Meant to raise that. Then as I'm putting in the details, it might be something like that. That might give more of an Asian look to it. Just focusing on that single eyelid and not much else. They're not showing a lot of folds or anything like that. The other thing with many Asians is a slightly wider nose. I don't think it's very wide. I think actually, for me I almost think of this as kind of a standard nose. Forgive the term wider. I actually, me, it seems pretty standard. For a lot of Asians. There might be a narrower chin and a narrower jawline. This particular gentlemen does not have that. He's actually got quite, quite the jaw line and quite the chin. But as we go into say Japan, narrower jaws and chins are common there. So that's something to think about as well. Actually. Like I said, when I'm talking about these features, especially about Asians. If we'd look at the plastic surgery rates in different countries and what they find attractive, what they hunt for in Asia, a lot of it is facial surgeries. It's really important there. Let's leave Asians for now. The main thing is this mono lid and the slightly narrower jaws and tapered chimps. But again, that's different if you go up into Mongolia, wall, very strong jaws up there. When we're looking at Africa. Once again, Africa is a giant continent. How am I supposed to capture Africans? Let's go with some dark skin here. That's fairly easy one, even though there are lighter Africans, there's a lot of mixed Africans. Darker skin, wider nostrils, I think is pretty dominant, right? Wider, stronger nostrils, I would say not just wider, but stronger ones that have bigger emphasis. Lips. Men and women look at the size of the lips. Gorgeous lips here. For, usually for men, I don't draw lips very much. But for this guy, maybe I would, maybe if I'm drawing his lips, I might do something like that or something depending. He's got a quite a great jaw line here. One that I almost, I could emphasize when I was, if I was drawing it or something. But for Africans in general, I would go with larger nostrils and larger lips when we're talking about facial features. Again, it's a giant continent that has a lot of diversity. If we go up north in closer to the Mediterranean, the Egyptians have a bit of a larger bridge, their nose subset hair and Africans have a smaller scoop to their nose. Depending on where you're looking in Africa too, right? There's just so much variation. Now that I'm looking at it, it's really hard to break it up per continent, but like I said, I just wanted to give you guys a little bit of a quick peek at some of the different features. Native American. Native Americans. One of the key features usually are stronger bridges to the nose. Stronger cheekbones, strong high cheekbones. I think that's, that's a pretty good one. We can see the double eyelid here. And a lot of Native Americans actually look like. Lot of Northeast Asians. And Northwest Native Americans have very similar looks to them. So if we look at Siberian Asians and the Inuit of Canada and stuff, they're very similar and you could see the genetic makeup, how they're really close, right? They've got a rounder face. Whereas as we start to go down in the American continents, you often have a slimmer, more defined look. This guy's, both of these two kind of epitomized that. All right, so if I'm looking at Native Americans, usually, not always, but a bigger bridge to the nose and high strong cheekbones. Europeans. Once again, lots of diversity on that continent. We've got to, we've got to kind of blondes, dirty blond hair. Hair color can be a big factor there. You know what? Now I almost feel bad for neglecting the hair when we've got kinked up hair. Africans can have a lot of variation in their hair. Some of it can be partially straightened to a loose curl. Natural might be this small kinked up type. Asians, strong coarse black hair. Native Americans, actually very similar to Asians in that way. That was my little roundabout for hair that I neglected. I'm sorry guys. For Europeans, look at how narrow this noses and noses can often be. Very, very narrow. The nostrils especially and almost like, square-like at the nub of the nose. Sometimes look at how strong that could be. Depending where we are in Europe, sometimes huge bridges to the nose. Once in a while you get this cute little nose. But a lot of Europeans have quite strong bridges to their nose. Any other standard features? Hair color, I would say Europeans and eye color for Europeans. This isn't a color sheet right now to ease in your printing. But when it comes to the other continents, There's not a huge amount of eye color variation. There can be some in different parts of Africa and in the Americas and stuff. I got some lighter browns or some variation on that. But generally speaking, it's brown right across the board. In Europe, that's, I think that's where we see the most variety of eye colors. Everything from the caucuses at Euro mountains and all that. The Kazakh stands and all those as they move across into Europe that we've got like crazy blue eyes and all that. Okay, So if we're looking at just these four basic ethnicities, and I just chose these four because they're easy to cover the continents with. Again, I want to review that for Asians, usually a single eyelid and narrower jawline. Generalities. For Africans usually wider nose, nostril base, less of a bridge to the nose unless we get into North Africans. For Native Americans, usually more of a bridge to the nose and more defined cheeks and higher up. For Europeans, often bridge of the nose can be pretty large, but especially usually narrower nostrils and stronger tips of the nose. And of course, as we go through, humankind has traveled quite a lot. And we've got a lot of mixed, diverse type people that are their ancestry can come from all over the place and we get a lot of cool things that are happening here. This gentleman here, he's got a very light colored skin, but a lot of African features. His nose looks more African. Definitely. He's got his little high top fade here has kinked hair to it. He's got that. This filipino model. She's got very European and Spanish features with Asian flare to the eyes, freckles, smaller eyes, wider, nose. We've got a lot of variety. Let's look at this beautiful curl to the hair. Like this is awesome looking. How much fun would she be to draw as a character? I'm going to send you off this sheet. Like I said, if anybody wants to, they can definitely come at me. This unit. It's an easy target, but it's something that needs to be done when we're looking at drawing different types of people and you should learn how to draw different types of people. It's really important. You have to know, okay, well, where can I push some of these features? Does that mean Every African has a wide nose? No. Does that mean every Native American that has high cheekbones? Know what we're looking here at here is a little bit of generalities. And then we can start to push and pull off. That mean. That's all this was just to introduce the topic to you. Below it, I measured out each of their features, their eyeline, their nose line there, melt line. So what I'd like you to do as an exercise is to use that little model head that I sketched out there for you in the worksheet and fill in and see if you can get some of those features down. If you have to trace first and then go below and see if you can get it down and then even copy it to decide if you want or something. The main point is look for some of those key features that we've been talking about in this unit. And see if it helps you to differentiate between the ethnicities. Guys, hope this was helpful for you. 14. Head Variations: Hey guys, I'm back and I've got another unit here for you. In this one we're gonna talk about variations, basically meaning that the human race is kind of a wonderous thing. We've got tons of different looks to us. All. Big heads, small heads. Feel like I'm singing the coconut song here. I want to show you some examples that I just grabbed from the Internet about how shapes heads, features can appear different on everybody. We've got variations within ethnicities, but even within that ethnic group, there are tons of variations. Tons that society deems attractive. Some that people will say are very unattractive. Some features that were maybe considered desirable in different parts of history or in a different culture and now have become undesirable. Realize that as an artist, it's up to you to be able to draw all different types. That's kind of your job. As someone trying to learn the skill. It's even more important that you're like, okay, you know what? All my characters might have this certain look to them or something like that. But I wanted to be able to. Here's a great example. Let's say you want to draw a handsome person, hence a man. You have a characteristic of what you find handsome. Handsome person will look more handsome in front of or next to people that are less desirable, less Haenszel. We talked about body types. You want a superhero, then you have to draw everybody else as less than super. You want to draw somebody who really freaky and the hideous looking. You've got to have attracted population. You have an attractive population, and then you draw this one-person that's hideous. They'll look that much more hideous because of the contrast. Learn to draw different types and different variations. And that's what we're going to take a peek at here. Let's jump in the first two that I've got going on here. Basically. If we do the simple red here, simple skull, one thing I want to emphasize is that even though this is a real person, I'm going to kind of push the proportion a little bit. So we've got we've got her face, but we've also gotten an extremely narrow jaw. You could see her chin to hear. It just seems really pointy down here. It's not a very big chin or anything. I should I drew the circle too narrow. I think she's got a wider, wider upper face at narrows quite low. Whereas in we can contrast this with this gentleman here who has a strong jenn and a very strong jaw. If I was to draw this off to the side, it'd be something like this. Strong chin, actually even stronger. Jaw. Chin and jaw variations can be important. Head size, some people not the biggest heads in the world. Other people have extremely long lower portions to their head. If you look from here to here, It's pretty small gap we've got going on here. If she was straight looking forward, it might be something along these lines. It might be kind of pretty small. Her nose, her mouth might be along this line, and she doesn't have a whole lot of Chin going on here. We've been looking at it from underneath and it's not a very big gap there. This guy has got quite a lot. So if I'm drawing it, I hate to use this term, but it almost seems monstrous. Like he's just got this noses up here. Melt is here, and then this massive chin down here. Pretty big yours too. So just even not just the width or the angle of the jaw, but the space between the lip and the chin can be important. For me. I got this beard so it gets to distort things a little bit. Look at the browse on these guys, right? So if I'm drawing a normal list and I come down and this is how we would normally construct his face. His brow would hang heavier, something along those lines and you could come back this way. For this gentlemen. Again, we'll kind of do a simplified thing. This type of thing. His nose hangs heavier. His brow is a little big, but the nose big protrusion there. This guy's nose is actually kind of small. Look at the brow. Look at the noses. Huge variation there and look at his chin. I hate to bring up Andre the Giant, but he was a big icon of mine in the eighties and stuff. And he had pituitary gland. Irregularity that caused gigantism. Is growth hormone was out of balance. When we look at people in our population, we can see variations. Softness, extra weight and their face or something like that, or extreme leanness that, that's often caused by not just lifestyle, but genetics and everything. When we look at all these variations, no chin, massive chin, big nose, small, knows whatever. The point is to really start to recognize them and appreciate them for what they are. We're not here making fun of people or anything. I hope I don't come across that way. This is more just saying, okay, how can we start to recognize these, these varying features that will help us either capture that characters look going forward or even expand on it and maybe become a caricature at some point. We can see normally it would be something like this, but her chin for Tod's, so much force does not. But this is, we were talking about attractiveness and stuff. I get both of these by my reckoning, are very attracted women. It's just different different functions, different structures. Normally we could say, well, this is the skull. Here's the eye line. You're just going to start here. And then we can start to construct a nose, the mouth, all that kind of stuff, right? The brow here. But for this girl starts to angle this way, it's still attractive on her, on this one. It's more like a rule of duck lips here and stuff like that. But it also works for her. That's the point of this is to realize that even though we have all this variation, it can still be extremely attractive. Just learn to recognize it and play with it a bit. This one, we've got tons of different, we've got these kind of classic beauties of top that Western society is deemed the handsome, handsome, right? What is it about them? What is it about these three? That you would say? You know what? That's an attractive person there. What do you think it is? Is it the jaw? Is it the lips? Is it the folded I eyebrows? You don't like? What features of these three? I'm envious with the hair. What, what makes them attractive? And how does that affect variation? If we throw a square jaw on a, on a woman, if she's still attractive angle, these two women seem quite attracted to me, but they've got square jaws. Do we, do We love the Tinkerbell? Pixie look with kind of bigger eyes and we can even animate these eyes. Do we like little button nose? Just got a little nose and lips or something. Actually, in the more, I'm drawing this more scarier I realize it looks. Do we start to look at head shapes? Then maybe even start to crunch them down. This is where we can get into more cartoonish looks. We can get into a more cartoonish look. Doing something like this. Just looking at basic shapes and applying some of our basic anatomy to it. Alright. Have fun with these. With these. I've thrown a whole bunch on here for you. On this sheet here that you can try to draw the classic beauty if you want. You can draw some variation of it. Depending on where my students are that you're all over the world. So structures of beauty might change. Maybe pick some people out of magazines that you find interesting phases and then really sit there and take a look and say, well, what is it about this I really like, is it that tapered chin? Isn't that strong jaw? Is it? Is it the hair? What is it that is captivating both this person has their eyes. Why is that? And try to capture that. Play with head shapes, play with proportions, play with all the variations that we see in front of us on the sheet and in real life, because that's the fun of this course is once you understand, okay? In the past I told you at the eyes are halfway down the head. And then we wanted to three, we can cut from heat from the eyes. 123. This is the proportions five eyes across. Those are just Standards, easy to learn standards. Once you get into this, this is where the fun begins, where you start to grab variations and stuff. So like I said, I've kind of showing you some variations of how even on normal, normal on real humans, how we have this extreme stretch pull, disproportionate type of look. You don't have to draw real people, draw cartoons, draw something exaggerated. Have fun with it. And it can still be, in my mind, respectful. Yeah, have fun with this unit guys and just push and pull on some of these examples and see what you got. 15. Hair: Hey guys, I'm Ed for Chuck. And in this unit we're going to talk about hair. Something I kinda wish I had a little bit more of. Let's get into it. So where do we get when it comes to hair? We're going to talk about the blue line, what we're gonna do, our normal blue outline for the skull, right? Drop it on down to the chin, come up. The reason I do this is because I really want you to understand when you're doing here, it's important to have a structure on it. It's not just strands coming out of anywhere or anything right there. They're layered over top of the skull. So when roughing in the head, you really have to do this blue line to get the hair in the right place, okay, get the ears, the eyes, everything in place so you can understand where it all goes. See if this makes sense. Bear with me as we go forward because we're actually not going to start with here. We're going to start with hair lines. So let's take a look at our men, Justin Timberlake here and his hairline. I'm going to rough it in here, go down and around a little bit, just roughing where the hairline goes. Right. You can see he's got a good one, right? I'm pretty impressed by his little MBS. Maybe not focusing on the here yet, just focusing on the pattern that goes across the forehead here, down into the sideburns, and into his Hollywood would kinda pseudo beard here, right? Okay, that works. This gentleman though. Mr. Travolta. He's little bit older and we've got the M. We can see it. I want to point out right here at Davidson just a little bit and then comes down into sideburns. Alright. So we've got this M shape. And we know obviously this is called a receding hairline, right? You know, like for those of you who remember Mr. Travolta from well, jeez. How far back Greece maybe. You had a better hair line. It was never great though, right. But it's moving on back. Okay. And speaking to move in way on back, we've got this little island of law, Jude Law, right? And you can see what's happening here. So this is typical in male pattern baldness. We get the hair moving back, you get a little island or you get a bald spot starting with, we go back here, starting around here, and it starts spreading out that away. Eventually, you might just get this whole thing bold. Okay. But like I said, that's more common with male pattern baldness. Here's Millie Bobby Brown, who's neither male nor having any type of pattern boldness here. She's a young girl, but she did shave down for the role of 11. So we can kinda see how the hair how she looks without a big wall of hair on her head, right? This might be a really healthy hair line to look at. We can see how it indents a little bit here. It's got this nice swoop. Who does this look like? This looks like how Timberlake Timberlake's was, right. So he's got a healthy head of hair. As far as we know. Move on down. This haircut is interesting because it's straight across. Now, there's a good chance that this has been trimmed in the corners, manipulated by the barber, right? Okay, so don't get too worked up on it. But for a lot of folk, this is, they liked that clean cut, right? So they'll, they'll trim up any stray hairs. Keep this line really high and tight. Even when he's pretty clean shape. It's pretty tight. Right. So if I was to do is hairline, I think I could follow the skull. Right. I can think I can follow skull, but almost any other hair and we'll get into that later. We'll raise above the skull. When we had Jude Law up top here, we can see this hairline was moving back. Usually, this is a forehead. This is the forehead region. Me and my daughter will sometimes joke that there's a five head, right? If that's true, then this kid's got like a three maybe. I don't know. Look at this. This is like werewolf style almost it's coming down into his face. Some guys, you'll also notice that it might come down in closer to the eyebrow and stuff that you'll get a little bit of hair moving on down there. And now we're getting into hairstyles. No, I don't want to talk about. I'll rough it in for you, but that's not what I want to focus on yet. Still want to focus on this hairline, right? So yeah, we've got this narrow hairline here and then we've got Jesse, who's got a big head. Alright. More like mine. I can roughen with the hair is right now, right? Yeah. He's got a big forehead and I don't even think this doesn't really show male pattern baldness. He doesn't have the dip here or anything like that. I think that's just his natural forehead. It's huge. It happens. Right? This little kid. He's not so much of a kid, but he doesn't have it. He's got a really narrow for it. And like I said, sometimes you'll see the eyebrows start merging. Merging into the hairline actually. So what's all this about? We've talked showing a whole bunch of examples of male pattern baldness, a nice hairline, a three-headed of four or five. What's, why am I teaching you all this? Because it's important. What's important is that you understand that there's a certain pattern that's happening even though his head's coming up this way. We still got this little dip, this little dip of the hairline that comes in the sideburns. So keep that in mind that whether you wanted the forehead to be really high or a little bit of a shorter forehead. You want to follow some similar patterns that humans hair follows. And this is for men and women, okay? Obviously the women won't get the male pattern baldness. Like you can see the difference in Millie Bobby Brown here compared to Jude Law. But they will have this little indent that we're looking at here. And you can kinda gauge that off of the eyebrow. That's a good way is this relationship here and here and stuff, right? It's not gonna be perfect. Everybody's heads a little bit different, but that's one way to think of it. Okay, so moving on from from hair lines, we're gonna get into hair now. How I draw hair. A lot of people, you'll see a lot of artists like trying to draw every individual strand. And they really, really work at work, at work at work when that's not bad. That has its uses and stuff like that. But almost like when you draw, remember the mouth unit when we were talking about teeth and stuff. When you draw it too much individual hair, it starts to take away from the message you're trying to do. So instead, what I tried to do when i'm, I'm doing here is think of it like a wave. I think of the movement pattern of what I see, and then I take it in clumps. So I'll grab this wave, move it down, grab that, how it flows that away, right? All this one spins around. This way. It comes this way, this comes in this way, this way, it comes in this way and this wave. So I might draw the occasional strand inside of that wave. But a lot of it is just drawing the wave itself. I think it was pretty cool. Alright? So don't worry about the individual strands and you try to try desperately to, to draw and highlight and do it perfectly. It'll take away from the message of what you're trying to do. Which you want to do is catch the wage. Why does it sound like he's commercial? Catch the where it's coming from. You just catch the motion of it. There we go. So what I've done here is I've copied the blue frame. I'm not gonna make you draw out all these blue frames and stuff. I've copied it over so you can work on the hair just off to the side here. Okay. Not on every model, but on a lot of them here. Hopefully that'll help you practice for this one just to focus on hair. Okay. Chris Pine. Chris. Where do we know him from? He's maybe I know he's the only Chris that's not in the Marvel universe, right? So how do I, how am I going to approach this? Well, there's different. He's got this hairline, right? We've got this normal, kinda typical hairline. We can see here's the eyebrow marker and then this relationship here, right? But that's not what we're going to focus on. What I'm going to focus on is where the hair stems from and where it's flowing to, right? So it's coming from this, this section here. So I might draw some details from the root of it. And it's coming out and we can see how it keeps coming from this side right. Now might not even do all the details of this side of it or anything like that, depending on how I'm going to do it, I probably wouldn't have drawn that hairline in there at all. Right. So I'll erase it on this side so it makes a little, little better. As I'm roughing in the waves of his hair. I might just rough in just a little bit of the hairline here and stuff depending on What I plan to do with this, am I going to ink it and we're going to color it? Alright. There's Chris, hair. Kinda cool. So you can see we're following this wave across. And I left the room for you to do it. Speaking of waves, wow, no clue who this guy is, but he's definitely got some waves going on, right? So if I was to do this, I would be following these waves. And some of them curl up and over, right? You can have fun with it. As they, they come back a little bit, alright? Okay. He's got a little bit on this side here they fold over. This one switches now starting to switch over this way, coming up and you can start to create the momentum yourself a little bit, right? As you start to flow with it, your hands will get used to which way you're going. And you'll just kinda have this nice flowy herself to get the hair down in. Here we go. Wow. Yeah, that's kinda cool. Maybe a couple of evil flips up there. Alright. So those are some short hair examples. And this girls long hair example. What else we got coming up here? A kind of a short cropped hair for girls. Okay, so where am I going to take this? You gotta kinda search. Where's the, where's the part, right? Or where's where's the flow coming from? For Miley? It would be coming here. Right. We can bring it over this way and bring it up this way. So this is maybe tucking under. You can see some of it tucks, right? Sometimes it's tucking under or over For her hair. The other one is moving this way and then there's a couple of little odd strands that are coming, coming across here. But these ones are coming down on this side and maybe a couple of coming behind her hair. Then you can see it's still rooted here because we've got this side of the eyebrow. And what I did for you here, Let's see if I can back it up just a little bit. You can see I gave you the face down below here. So you're welcome to follow that same model and see if you can replicate, replicate the hair a little bit. One of my little crooked. There we go. Okay. Let's get on in here. So here's where it looks like. When we want to draw strands, we don't want to have every piece of hair because it looks funny and especially we can't really see them from a distance. So we can almost draw it like like I said, waves or leaves. That's what her hair starting to look like here. And that's it. It's really that simple. Right? Because so much of it as covered. Her face is covered and everything. Right. Okay. So let's see, last one. Here's what I wanted to talk to you about just a little bit. No matter how tight the ponytail, no matter how many chemicals are put in, no matter how straightened hair is, It's still going to give some volume above the skull. So if we're imagining that this blue line is our skull, we can see we've got some volume above it, right? So this, this lovely lady has her hair and she's really worked it. Whoever did her hair is really like put it back and it's all tied up. You can see this braid that's in the back here. And then it's an abundant. With the bun. You can look at the directional flow of the hair, right? You can see that there's a highlight that squiggles along this side, right? Okay. And you can see how it even comes down to the sideburns here and stuff. So just make sure even though it's pinned high-end tight that you still give a bit of volume above the scalpel. And you can see how it routes from this area. And we've still got this relationship that we're talking about right there. There's a bunch of examples for you to do. You can hold those, look pretty cool. You can work on them there. I gave you extra room on a few of these heads on the sheet, and I made another sheet for you. So you can use these little mannequin heads and stuff like that and draw out even more when you can. I would recommend trying to follow the flow and sweep of the hair that's already here. We've got a bunch of different hairstyles for men and women. So you can try all different types. But here we've got a combination of high and tight and then puffed out. Alright, so tons of things for you to try here. After you tried these. Why not look in a magazine and see what other hairstyles are out there and stuff. You can use yourself as a model or either magazines, internet, or your celebrities, right? So there's tons of different hairstyles to work on and stuff. Keep in mind that the rendering, the flow might be a little bit different depending on the type of hair. Here we have a course, straight hair. Here we have curly Afro, right? So with ringlets actually, you can see some spirals here and stuff I get. So how would you not go in and do every individual being lit? Just like I wouldn't do every strand of hair. But I would find it. How can I embody that in here? How can I capture that, that curl just on the edges? And then the highlights of where I need to have it, right? Okay guys, so this extra sheet here, this is some extra work for you. You can call it homework if you'd like. Just make sure that you follow the proper hairline, even if you can't see it, just imagine it's there. And then look for the flow of the hair. And imagine the Heron waves. Write it. It's not individual strands, but rather catch those waves. And there's my eighties logo for the day. Catch the wave. Okay, that's it. I hope this video helped you out. 16. Emotions: Hey guys, I'm back and I've got another unit for you here. This time we're talking about emotions. How do we capture emotion in the face, right? Well, I think there's been so many university studies I remember they were doing like just kind of showing eyes. Just eyes with a smile or fixed mile. So if they just kept her eyes, I don't know if I can zoom in. I don't think you want that, but like fake smiles versus real smiles. And humans could still capture IT. People. The face is such an important part of how humans interact with each other that we have become masters of recognizing just the slightest variation, the slightest tweak the slightest change in what's being presented to us. That being said, it's tough as artists. How do we capture all of that? How do we capture all this? Tens of thousands of years of evolution and put it down on paper so we can capture a little, that little tip right there. That's small, little, little thing that brings forward that much emotion. It's tough. I got to say like this is just gonna be your introduction to it. I want you to work on it and I'm going to simplify it almost too much because I want you to look at what are the key components. What are we really looking for here? Then you can start to work on, okay, well, how do I bring it into a more rendered figure or face or something like that? We're just going to look at some of the key pieces and see if that helps. Kind of light a little spark and you say, Okay, I think I get this right. Okay, so let's jump in. Guys, I have a master in front of me. Master Jim. Jim Barney. He has quite the repertoire of facial expressions. What we're gonna do is just go through some of this and see if we can understand what's happening in y. What's this first one? Well, what do you think? Well, what does this look like to you? To me, this is shocked. Why do we have this? We have raised eyebrows, very raised eyebrows. We have very wide eyes. The head is slightly tilted back, so we're looking at the nose. We're looking at the under part of the nose and the mouth. Gaping. What I want you to do is instead of drawing the whole face, we're just going to go back to our circles here and draw below this and see if we can have this like we're gonna have this big eyes. Actually, I got to say that that looks off. Why is that off? I think because the eyebrows are too close, they look too angry. Instead, the eyebrows, I got to be up here. There we go. Then we can see so much white in the eyes. We can see just that. You're like, Oh my God, he's making me draw him much easier. But that's just because we're not going to spend a lot of time on this. We're just gonna keep going. What do we have here? We have this pinch of the eyebrow, the sadness, and especially this hook in the mouth. This is what I want you to focus on lake. Where's where's this? Whereas some of the key factors going on here on this next one, what do we got? Well, we've got like a pinch on one side with a raised eyebrow, right? We've got a bigger eye on another. We've got to snarl here on the nose and we've got the mouth going like that. I want you guys following along and just drawing your own stupid little happy face or unhappy face emoji circles and stuff. Here. We've got kind of a concern, so we've got wrinkles, we've got eyebrows, and we've got the eyes looking up. You don't have to do your circle faces the same way I am, like obviously might have been be doing them better than me. I'm butchering them here. This one is scary. Laugh, smile. Like we've got this huge, huge smile with eyes over top and then raised eyebrows. This one sleepy. So one thing you want to do, a sleepy all let's do the face here. One thing you want to do is sleepy is have the eyelids in there. He's just kinda that way, right? That'll work. What am I capturing here? We can see what are the key components? Its eyes, eyebrows, mouth, which doesn't surprise us on anything. This one seems to have a lot of stress around the mouth and the lips. Then a pinched, puzzled look. I don't know if I'm capturing that. I might want to rework that. Let's see what you guys could come out of. This one. We've got one eye open, one eye closed. Maybe even a raised eyebrow on this side, and smaller, pursed, pinched mouth. This one's cute. Okay, so what have we got here? Again? Big eyes. And then this kind of like actually I'm gonna make it even wider. I'm going to exaggerate that even more. And then we've got that going on. Whereas in this one is almost the same, but the mouth is higher up and there's a bit of an arrogance to it. He is, He's got his eyebrows over top. We've got that kind of arrogance going on and he looks like he's looking down at us. What do we got? We've got kind of a sleepy I think going on. And then a big gaping mouth. This one's cute. I don't know, just kind of a side smirk. I think the sides mark, I like to give that on the end there. Just like it's pushing up, pushing into what could be, would be might impulse. I'm running out of room here, but you can see on your sheet probably when you print it off, you've got a lot more room. Again. What are we looking at? We're looking at these little dimples. The eyebrow twist here. One straight ones up. Just this. He's not really showing much lipase. He's got this thing going on and you can see it does that law. He's got this personal lip thing. He really kind of sucks his chin back in there and stuff that shows a lot of emotion. Here's a kind of like I just spilled the milk or spilled something. The mouth is open on one side. It's kinda like kinda getting that fishhook drag to it. That's part of it. Of course, you know, when he's looking off to the side here, sorry guys, I kinda ran out of room for my face on the bottom here. This nope. That's pure Jump Box me. How can I keep and explain what's going on in that one? Guys? When it comes to emotions, it's, oops, where we go, there we go. That's better. Here's an extra sheet for you. You can go through and really just kinda work them. Start stretching things. Whether you're doing it with a simplified happy face or whether you really go in and kinda define the Build a skull and then build off of that. It's up to you. Key point to this, the reason I simplified it back to the emoji basics was because I wanted you to understand eyebrows, eyes, mouth. That's pretty much the formation around the mouth. That's pretty much what you're hunting for. Once you've got that down, you're gonna be able to convey so many emotions. I hope this was helpful for you and lots of practice sheets here. So get rolling on it. 17. Face Turns and Angles: Okay guys, I'm back and I've got another lesson for you here. This one is about heads. Well, I think that's pretty clear. Heads and faces. But in particular, turning them. You can see this handsome devil in front of you is me and my winter beard. Yeah, I sketch these out earlier and to prepare for this lesson here. And I'm hoping that by practicing more and more, you get comfortable drawing faces, getting used to the measurements, all that kinda stuff. What we're gonna do is just kinda reviewed some of how we measure things and see how that holds true. Measuring it and drawing it from different angles. So the first thing we're gonna look at is I've already got some blue lines that I wanted to keep them here and there on your worksheet to write. So this will help you as a bit of a guide as we start to, as we're learning, we're studying, we're moving on and stuff I get construction lines are important so that you have that overlapping form of the face and stuff. I'm going to switch it up though and just go a little bit green and my sketch, just so I can see what's going on here. So we've got our top to bottom and we've got our midline right? But that's not where things started. Where things actually start is a circle. Okay? And I can make my circle really ugly, really rough. Whatever. I can make it prettier, whatever I want to do. But I'm just going to draw a rough circle, bisect it, and drop it down. I think this is pretty familiar so far. So I've got a bottom and a top here right? Now, halfway through this bottom and top, I'm going to come off. I'd say that's pretty close. Maybe, maybe somewhere rather, I'm going to draw a line on either side of that. What I might even keep this See if I can get get consistent and my drawings here. So there's my line, There's my top line. There's my bottom line, right? And like I said, I'm really hoping you're kind of following along. I'm going to bring the skull down, bring the skull down, use my chin and my manly beard, a jaw, and draw it up that way. Okay. So I've got I've got this going on. What's this halfway mark here? What does this signify? Signifies the eyeline started the I so I can either put my eyes in as I'm looking, all alien, ask or robot or something, or just leave it be. Now if you'll look, my nose is about one-third the way down my face. So if I do this and I divide it into thirds, this is where my nose is gonna be. Right below that circle. My mouth is about halfway between those points. And there's my mouth. And that's me. There we go. That's this rough sketch of me, right? No. What do you think? Does this does it look like me? Well, hopefully it does If we start to add stuff over top. So I can come here and do the, the, the eyes a little bit. I can come and do the eyebrows above. Alright. I can come down here to the nose. I'm just kinda practicing little bit and come and do my angry snarl. I'm going to come out here, follow the eyeline across the ear, from the eyeline to the nose line. The year start up comes down from the nose line. And then I don't know, I think I'll start drawing my beard and do the do the under section of the beard here. Do the over part of the beard, the upper part, the hairline a little bit. Comes around here and my nice receding hairline comes around. Then I've got this this part that goes there, something like that. Actually, I don't know what what I drew there are why I do it, but I'm the beard is going to be Here's the lip underneath. There's a little tuft under the lip and it comes over and down. Comes over and now and then I've got this. Okay, so what's the difference between the one that I just drew out here in the one up here. This one looks a little wider, like I feel like this one is wider. This one I drew a little bit too narrow. Yeah, that's the main difference I'm noticing like a much wider in the cheeks and everything and my eyes are a little wider. So if I wanted to go in, especially the eyes, I get clean them up a little bit and see if. See if that helps. Just a little bit. Helped a bit. But you know what, here I've just got chubby cheeks and here I'm thinner, but the structure is there. Right? Okay. Let's see if we can go on to the next one and see if we could do something similar, right? So I'm going to, I'm actually going to keep these lines that I've roughed in here and I'm doing a really rough. And there's a reason for that because I just want to keep it nice and loose the way that I'm hoping you're sketching as well, right? So there's that. I'm going to bring this central line kind of curving. Remember we've got a ball here, It's kinda curving the ball. Here's my top, here's my bottom. Halfway is the eyeline, right? So that's gonna be my eyeline. Their central line is going down to the chin, comes up, comes around for the ear roughly. And this one's going to come to cheek there and roughly come down and come around and then my neck and into the traps. Okay. So that's a rough should probably do the nose. We go one-third. One-third. There's my nose. Half of that is my mouth. Okay. You guys like sketching like this? Like I mean, like doing the roughs first because sometimes what I honestly do is I just kinda go to all of them. I noticed I'm doing much smaller here than I am up here, but that's okay. Maybe I didn't give myself enough space. Kind of go in here. And this is my high lines. So my jaws is just going to come and it's going to come up the side here and back into the year, roughly around there. And then again, one-third, one-third and half of that. That's my mouth. That's my nose or thereabouts. Okay. I feel like the head. Yeah, my circles are not big enough. So once I've got this all laid out, well, I can come in and start sketching. Going to come in and maybe I'll just zoom in just a little bit more. There we go. Okay, so what I'd like to do is maybe start with the nose, bring it off of here, have it come down to her, that nose line is there. Have this eyebrow come off of the nose? Come there to the side of the head here. Bring this up, right? This eyebrow is going to start there. Kinda come back. My eyeline is going to start there. Sweep under this one's probably a struggling somewhere there. Sweep under my mouth. Give me unhappy expression again. Under the lips, right? I can come out here. Draw that cheek coming down. Here is going to be. And I can see already, I've got way more space here than I do here. So if I, if I wanted to make an accurate portrait like then I would measure it a little bit better. I don t, I just want to have the fundamentals here of what my face kinda looks like. Alright, so I'm going to bring the beard up this way. Bring it around, bring it over, up into the ear. I'm going to have that top of the ear. There is kind of the shapes or whatever, right? Back to the hair. This is going to come up with the hairline. Come up top here. Watch my center a little bit and have my cool fro. That's not that cool. Inside here. I want to make sure I have another lip that comes up, comes up above the lip from my beard. This comes up and there we go. Okay. So again, what I'm noticing is as I'm recreating it, all of these are narrower than the ones that I'm copying and stuff. And that's just because I'm not carrying I'm not taking the time to draw it exactly as that is because that's not what I'm trying to create here. What I'm trying to I'm not trying to create an actual exact copy portrait. I'm trying to teach you guys how to do some of these measurements correctly. So I could start with the eye here if I want. And that's the bridge of the nose. I'm going to come down. I'm around. The brow comes over and it bumps up over here, the hairline. And look how I'm just kinda filling in almost like a puzzle piece or something, a mask and where's the where's it all coming from? And I can go in any direction. I could start on the back here and work my way over. I can start on the front, whatever features you kinda feel comfortable with of where you're coming from. Okay, so I'm gonna come there. I might want to draw the mouth and the mustache. He's gonna go over top of it, comes down. This beard thing that comes down in here, the lip mustache goes this way. And how we're does it look without an eyebrow? There we go. Okay. Let's back out a little bit and take a quick look here and see what we think of it as it. Is it looking the way that we wanted to look? Construction wise? I'd say, Yeah, yeah, if we back away some of these sketch marks and stuff I got I'm drawing a face. I'm a little little squished, so I might want to make sure that I don't there are pay attention to that, that I'm not loving how how how narrow these are. Like. I kinda like it because it's a bit of a comic book feel to it and stuff, right? But it's also a little bit too narrow. I think here I should have. If I'm going to do that, I got to play out and flesh out the back of the head here just a little bit. And I bet you'd just that change will give it the change that I was wanting. Yeah. Much, much better. And you can see how there's a lot of space back here in the back of my head. That space needed to be added there. Right. Okay. So continuing on. Now, this is where it gets a little, little trickier. We're going to talk about facing down. Okay. Do you remember a while back we were practicing with spheres. Weird. I got you. Drawing whole bunch of them, right? We are practicing drawing circles and then doing bisecting circumference lines, right? So if this is the midpoint and then it starts to rotate down, we can see how that circumference line would rotate down with it. Alright? And so even though it starts at that midpoint, it would rotate down even, even more or whatever as it's rotating downward, right? Well, that's kinda what we're doing here. We're gonna have a base and you know what? I'm gonna see if I can draw, I should bust up the ruler a little bit more. Kinda. See something like this. You don't have to just doing it just for fun. The things I call fun in this and doing this stuff, right? Okay. So I've kinda got this rotated face and I'm going to measure it and say, okay, here's halfway. So this is the halfway mark. From this halfway mark, the eyes are going to rotate down. So in my skull is being rotated right? And then one-third from here, my nose is going to rotate down and then off of that again, tick, it's going to be my mouth is going to be rotated down from there as well. It's going to come to that point. I don't know if I like there we go a little bit more even there. Okay. So why don't we do that again over here. This is kind of a downward three-quarter angles. And so this is tough guys. This is not what everybody, everybody tries to avoid some of this, these angles. And if we were looking at it, this has halfway. Well, here's my, my bisecting sphere, but it's, it's, it comes to this point and so it's turning this way, right? And so this is going to be, imagine it's, I can start to measure it this way instead. So this is my halfway point here. And this is my one-third. This is one tick of that doesn't make any sense because there's two things that happened. One, I turned and started dangling it. Right. And so that turn that angle of my head change things just a little bit. And I almost want to redraw it for you because I don't know if I explained it exactly. But instead of measuring from this way, which I can, I can also measure from this way because my face is pointing in this direction. I could rotate the screen back up this way if I want. But in reality, I can also take these measurements and measure along this way. Okay. Let's see this one. My circles were much bigger up here. This one's going to come down. It's going to come up. But how do I measure this? Well, again, this is a slight angle. Almost as hard as this one, but not quite. It's a little bit less, It's it's more like that. And so if I was to cut it halfway and then it rotates from there. And it rotates. They're rotates through there and there's my measurements. Alright. So once I've got those measurements and let's see, what do I do? Well, I start to sketch it in just like I did before, just like I did above. I can look at the markers for the eyes. I can look at the marker for the nose. The ears will start here and come up. Start here and come up and down to where that NO starts right? The eyes, I won't be able to see much of them because I should probably zoom in because I'm looking down at them. So there might just be a little bit going on there. The eyebrows will be fairly close to them. The hair my my receding hairline will come something like this. Jude Law ESC hair line. I got going on. I'm just doing whatever hairstyle comes to mind here. Whenever I made my nose known as pointing as it is up here, maybe I should change that just a little bit. The mouth is here with the lip below it. And then that beard coming out of it comes around and I might as well draw on that part of the goatee. Comes up this way, comes up the face. The side here, comes up the face and up the side here. This comes down flares a little bit for the jaw and I carried it too far down. But that's okay. I'm measurement was slightly off but it still works. If I want to, I can add in some, Some cheek definition here. But a brow definition, a little bit of stress I get from teaching and add that in. Let's see this next one. I like to start as usual round the marker of some familiar marker, right? So if this is where my eyes are and look at this, here's kinda going, here's my top, here's my bottom. Highs are gonna be somewhere around here, right? But they're following this curve. So they're going to be something like this. My nose is gonna be coming from here and it's going to come down there. My eyebrow will be something like that. So come up to my eyebrow there. The other side. I can over. I like to center line for plotting my hair. And I just kinda plot it from back here, coming around, going down to the jaw, to the ear, throwing it in. Like I said, guys, I've said this many times. You don't have to follow exactly what I'm doing at the pace, I'm doing it or something. But try to follow along. If you want to just pause or whatever. I'm gonna put my my mouth in here without lower lip. Thing that goes under the lower lip, making the goatee. There we go. Sternocleidomastoid with that part. Again, what I'm looking at it and I'm thinking I'm too narrow this way. So all I do is take the eraser and just make a slight adjustment. Okay? And the next one, this is kind of down into the side. This one's tough though. So my eyes are on that line, still, right. Eyebrow to the eye, back into the nose. Seeing a bit of my beard here, things, certain things become not so visible. Certain things start to disappear a little bit. Alright. The brow up into the skull a little bit. Come back. The hairline comes on down. This follows the skull around back. Come over here. For all the here a little bit. Just some awesome little squiggles. Now I can tell I messed up messed up with a beard was a little bit. That's going to come I can do there. Just comes down. Comes in that way. There we go. Okay. So what do we think? Yeah, know What? Oh, I like the evil look down on this guy. We drew it straight on. And it looks pretty good. Noting that it's not an exact replica because we didn't measure it out exactly the size of our little sphere, right? But structurally it's how we want it to be. We came on down. Exact same thing. Structurally. It's how we want it to be, right? We can get rid of some of our construction lines and see what's going on here. If we ever feel something's a little off, well, we can just go in and say, Okay, well, I feel like this should maybe be more like that. Because no matter how much we're constructing to begin with, we can still go in and make a few edits. Just to make it a little bit better for what we're looking for. Let's see. There we go. Okay. Last one. Looking up. This one can be tough to whole lot on nostril action going on. It's not easy, but what happens is exactly what we were talking about before. We've got our circles. And our initial circle is straight on with those points, right? Those points can remain. But instead now this person is looking up, right? So our skull is looking up and we have to make sure that our, our features do that as well, that they are looking up. So what do we do? Well, we start off with our sketch. As usual. We just started making a circle. We draw a central line because we're not looking off to the side right now. We can draw our base chin and we start to go up with it. Okay, This center or this type of simplified skull should be pretty familiar to you at this point. We can then come off to the side. We measure it and halfway, halfway mark. Now at this halfway mark, this is going to be roughly are eyeline. One-third of that is gonna be our nose line. One little tick below that on this particular character is the melt line. I can already see like, jeez, am I ever narrow? You got to follow my model just a little bit better there. Now, they're not winds it out. And we know that if this is the the eyeline and this is the nose line, then this also will be the ear line. That's where the ears will stay within that form. Let's see if we can have this lesson over here as well. We're going to draw our circle. Draw our basic form, top, go bottom, right, and carry this over. So that means our our eyeline, our nose line, mouth line will somewhat conform to this standard, right? So the eyeline is going to come out to the cheek and come down there. Right? Like I said, I feel like I've been lacking in the back of the skull and some of these sketches. And on the side, the truth is the back of the skull has got a bit more meat to it depending on the type of skull. Some people have skulls like this. Others are kinda like this, like they have this bigger thing. I call it the alien head. And I have one. That's why Why I don't want to go fully bald. I'm just going to hold onto my receding hairline for now because I just don't want it to happen. Okay. So we're gonna just going to continue this line across this eyeline, nose line, which is our measurement here. Eyeline one-third and just tick down. And realize that it's gonna kinda go like this a little bit. Because again, we're somewhat looking up at this, this figure. That's the point of it, is that we're somewhat looking up at it and you can see how the ear fits in there. Okay. So now we're going to keep going with a bit of lines and listen like, I'm kinda guessing you guys are taking a break, whether it's a break between each head that we're going at or whether it's a break for each. Each row or something like that, take a break because this can be tiring. So with the nose, we're going to see the underside of the nose. Maybe some details there were, these eyes are going to start here. Start here. And they can either follow the line like that or there can be a little bit, little bit of role under like a little bow, but it won't be like this or anything like that because we're looking up at it. So even this line would appear straight by looking up at it. Okay. So we're going to have that. We're going like that. The brow and the middle. I kinda long, long eyebrows. And you want to try to have an equal, right? I'm mouth, still unhappy about life. Just a little goatee beard thing. I'll keep that there. The hair can hide the hairline on this angle. You can see the hairline talks a little bit by the eyebrow there. It's going to come down comes into the face slightly. When it comes up into the moustache. So I can I can approach it from either side, you know, I mean, I can do the mustache. Then. Habitat away from the exterior of the head and the hair. It's coming up this way, giving myself way more hair, even though it's not there. I really got the beard and the outline of the ears. You can see how well this is all measured in right? Like everything is in proportion of where it should be. Good enough. So on these angled ones, especially this three-quarter angle, I often like to start with the nose. You'll probably notice that as my marker. Everybody's a little different where they like to start. But for me the nose kinda starts to center everything and have it have it where I want it to be. Okay. Oh, you know what? I started to low on that. I'm going to back it out a little bit. No, hold on. Here's my I didn't sketch this. Correct. So I'm going to jump in. My eyeline should have been right here. This is actually my eyeline. There you go. Why didn't I do that? Weird. I put a brow in there but I didn't put my eyeline. That's that's my eyeline there. So sometimes you can find yourself a little bit off and you're like, where did that come from? Why am I doing that? Right? Look it up, try to figure it out. Where, where did you go wrong? Why did things look wonky all of a sudden, see if you could track it down. And occasionally it's because while you just kinda forgot something or messed up or whatever. Here we go. Can go back to this ear. And you know what? Even there I can see, I, I want the ear to start here and come down. Right. That's the eyeline. I wanted to start there. There we go. Okay. So that the hair is going to be like this. There we go Much better. Now I've got my mouth on this line. That angry have a guy come my mouth here. The underside of that lip. And the underside of lip makes that a little goatee into the beard. Top of the lip. Give myself a little beard there. Coming on this side, down and over. And there we go. Now I can clean it up the eye. It looks a little wonky and stuff, right? Si is actually should be drawn through. And then I could come just clean it up a little bit. Any reason. But that is the three-quarter slightly up angle. This one's gonna be tough to and hopefully I did this right. Yeah, I'm looking at my measurements. I've got my my eye in the right spot. So I could actually start with that if I want to start with my eye. And then it arcs over to my ear is going to start a little high there. Kind of paranoid about drawing my eye in the wrong spot now and so I being extra cautious with it, Here's my beard. I'm just going to leave that there for now. I'm going to come back up to the eye and have my brow above it with the actual brow brow. Come in here, my nose come down. Never realize. Shape your nose until you're actually like, I have a big bulbous nose. Like this is where you can play with a little bit to have a cute little ski jump. Oh, there you go. I just make myself better looking lip thing under the lip, right, that little tuft of cutie here. This is going to come down. Come around and you can trace your hairline either from the bottom or from the top. Here. There we go. Wow, guys. That's about 30 min worth of work. But so much was done here. I'm hoping you kinda took it in ten-minute chunks and just made it a little bit more digestible. If you want to do exacting portraits. Like exact as it looks exactly like the person measure it out. I was doing this quick and on the fly because it's a teaching lesson, right? And I didn't want it to be doubled this time. But if you do care about that, you want to draw my face specifically. I don't know why anybody would want to, but just in case in case you want to draw me specifically, then measure it out, whether it's a ruler and you're kind of bouncing back and forth on that. Whether you are like e.g. you are doing stuff like maybe doing straight measurement, straight down, right? Like if you're kind of going like this and this right from here to here you can see where my measurements are way off where my quick sketch did not do my reference. Justice. Do that if you want, it's your choice. But either way, you need to do this sheet, this is really important. It's an important process, it's an important lesson, it, and it's an important assignment, okay? So whether you measure it out, It's a portrait of me, or whether you're doing it just to do what I did here and show how the measurements work in angles. It's really up to you. It's up to you how you want to approach this, but it needs to get done. I'd love to see it. So if you can, after you're done at all, send it in. And I get to look at these wondrous versions of myself. I expect to be both impressed and terrified. Guys. Just have fun with this. And if you're not getting it, do it again. There's a lot of exercises on how to draw the face here that I'm providing. This is just one of them and it's designed to just throw that extra practice into having you feel comfortable with your tools. Hey guys, will catch you in the next lesson. 18. Lighting: Hey guys, I'm back and I've got another unit here for you at this time. We're talking about lighting, how to shade, kind of listen when we talk about shading and rendering, there's a lot of different techniques you can use. You can talk about hatching, crosshatching, blending, coloring, all that kind of stuff. That's not what we're talking about here. This is not a rendering course. I want you to understand instead how the face is lit. Then come there, you can choose your writing style where the planes of the face are even right now you can see where the light is hitting me. This light is kinda like a straight above me here. Like where am I looking at right above there. That's where the main light is and it's highlighting here, highlighting here maybe a little bit too many highlights. But if I was to change it, move that lighting around. Well, how would that look? Let's talk about that and see if we can understand the planes of the face a little bit. Okay, So what I've got here is Hercules. He seems angry. And I'm going to kind of go with simple way of explaining lighting. What I've done is covered it in great or like a grayish blue here. And I'm going to explain how, where that light might hit. Let's say for example, I'm going to just switch this up for one quick thing. Let's say, for example, my my lighting is coming from this side. Well, that seems pretty simple. What would happen is you would come here and it would wrap around some of the form. If I want to, I could just go straight. Like let's just say I'm going to illustrate on this. And it would look like this. But that's not really true because what would happen then is like there's shading in here. There's shading in his mouth from the shadow and that that part of the beard and stuff there might be shading a little bit of shadow there. Again, it's not straight. It kind of wraps around some of these curves, right? It might wrap around the tooth a little bit or something, might wrap around the nose and have a little bit of fun with these ridges. And it might even touch on this side just a little bit because certain things are protruding. Light's hitting. It's not just a, It's not just a sphere. It's not playing. We've got bumps and bruises and whatever he's got on his face here. I can get in here and do the, do the rest of this part and there's gonna be shadows. This is a little bit easier because these are half, half spheres and stuff, that type of thing. But just I want you to realize that when we're when we're looking at light, It's not as easy as you'd expect. There's crooks and crannies all over the human face and body. Occasionally, depending on how far his cheek protrudes, there might be a little bit of highlight on this side. Okay. You can see how when, even when coming from just what would seem like a simple side side lighting thing. It's not that simple. Why don't we do the lighting that I have right now over my head. That's a little bit of slightly slightly overhead but not too much, like it's just coming forward and overhead here. So let's take a look at this. What I'm gonna do is selected, then there'll be a plane right here that's on his forehead. There's the eyebrows, There's the ridges of the nose, there's the cheek ridges. And I'm just doing this really simple and really fast right? There is again, the nose, these parts, the lip, the chin. A little bit of a jowl, maybe a little bit on the ears. Of course, I can come into this band a little bit more. If I want to grab the light a little bit more, then it's going to come here. I'm not too worried about the rest of this. This is just kind of gravy. That's what it would look like. I can go in and add a little bit more detailed, maybe a little bit of highlights here, a little bit, a little bit clean it up and stuff around the teeth and stuff like that. Maybe there's a little bit under the nose here. There's some wrinkles that are happening. But you can see where I hit the planes. It was the forehead, it was the eyebrows, it was these cheeks and it was the jaw. Again, forehead, the brow. Kind of almost a triangle in here. And the jaw and the chin here. You can see how that's working on me right now. Alright, we're gonna go for another one. And you know what, I hope you're following along. You could be either doing something simple like just, I don't know, just be coloring and white or something like that. Using a highlighter that could work if you're working traditionally, you can be doing the opposite and working the shadow and everything, right? It really depends what equipment you have. I'm just trying to like I said, teach lighting here. Why don't we go with an under view? Basically, it's lit up from below. How would that look? Well, the bottom ridge here, it would be lit up. It would light up under the nose. Remember the triangle? It would be more like this. It would light up under there. It would light up the bottom part of the brow. Maybe a little bit here and maybe a little bit on here. It might be like this and it might be just a little ridge line there. The bottom of the lip might illuminate the bottom of the teeth, maybe just catching just that little bit, maybe a little bit up into the beard, the lower lobe. Then of course, I can do the chest, the shoulder, that kind of stuff. How does that look? It looks like it would be if it was lit from under maybe a little bit of the back of the eye or something like that. It depends. But something along those lines. This is coming up from underneath. Why doesn't it come up here? Look, if it's coming like this. We the light is not hitting up there. We're talking about just when we look at one main light source. Do we want to go from this side? What about straight on? Let's do straight on. Straight on would almost be simple, like let's say I'm going to select everything. Almost looks like this. That's kind of straight on. Only it's not even straight on. There's gonna be some kind of angle to it. You're going to have maybe a little bit of original line here, a little bit of maybe that's too much actually a little bit of shadow in here. Even with there's gonna be shadow cast and the grooves and everything of a person's face. There's gonna be shadowed, deepen his mouth. There's going to be shadow in the beard. The hair is going to cast them just a little bit everywhere. There's gonna be just that, just a hint. It can't almost always be exactly straight on. It's going to caste somewhere. So it won't be much. But you can see that we're still going to have just a little bit of a little bit of shadows, even if it's directly straight on there. Just, we've got 20 groups in our faces to have it whited out completely. Another one that is really kind of typical and mood is a rim light from behind, like let's say I'm being lit from that apart from behind. What does it do? Well, kind of just you can line the outline of the back. Let's see if that works. That type of thing. Well, once again, we use it as a simple thing, but then it starts to come into certain groups, like it might catch the cheek here, depending on how far that light or how powerful the light is behind. If that light behind is a mega powerful, it almost wraps around the figure sometimes or something, right? It can cast itself a little bit. Even more, can go on any plane. But then you want to go in and add in a little bit of detail like maybe that are in the ear has got some groups there. Not bad. Let's see. What do we got? We've got from the side, we've got from the front, we've got from the bottom, we've got kind of like straight on. I don't even know how I want to do that arrow. Straight on. We've got from behind everything is coming from behind there. I'm wondering if there's any one that I'm missing for you guys. I feel like this is this is so some of the basic lighting. Once I know what I'll do. Last one, I'm going to do two primary ones. For example, from I'll do the rim light in the back like we just did. This is often what happens is we get a number of different light sources. This will be rim light, nice and nice and easy. It's from behind right? Then what I'll do is let's say he, there's a little bit of bounce it. Something is hitting a table or some kind of reflective surface and it's coming up like you can be standing in water, it could be staying on concrete, anything. What you can do then let's see if I can shrink the size just a little bit. Is just a little bit. Just something bounced up and it's just a little bit light there. That's a nice little to two types of lighting. The harsh light, the harsher behind overhead light, and a softer secondary source. Gaius. Lighting is important. How you choose to render lightings up to your style. Like whether you, like I said, whether you're shading and smudging or something like that. Whether you're crosshatching, whether you're using colors, whatever it is, it's your choice and your medium and everything. It could be watercolors, whatever wanted you to understand the planes of the face. And so as soon as you start moving that light around, Let's see if I can even do that just a little bit for you. This is, I experiment with this. Sometimes. With this, I start moving this around and you can see how like, okay, well, half of my face is dark, but as soon as it comes in just a little bit, it starts to catch right there. Starts to catch a little bit more and a little bit more. If it's from behind. I've got that. This isn't a very powerful light, but you can see how it's reaming. If it's from over top. I've got all of that going on from below. Doing evil storytelling right now. Guys, I think it's important that you have fun with it. But you also learn that the face, even though we started with this, that's not all it is. Understand those planes and you'll have a lot of fun with it. 19. Wrap Up: Hey guys, I'm back. And this is our wrap-up video, kinda taking a lot of the things that we've already learned and seeing if we could put it together to do what we came to accomplish. Draw a face. From the start of it, we worked on just simple construction of skulls using circles and understanding and then how we can my handy dandy bowl and how we can tilt it and all that kind of stuff. Understanding proportions and everything. And that's what I'm gonna do here. Just a quick little sketch for you guys. There's no worksheet for this. I hope you're just sketching on your own by this time and everything like that. You should be just randomly drawing skulls and then starting to draw all the pieces in there and see how it works. In this wrap-up video, I'll do a little sketch. We'll talk a little bit and make sure that we feel comfortable with these things. And then you're free. Draw on your own. All right, let's jump in here. Okay, so the first thing I'm gonna do is see if I can draw a rough outline for the face. I'm doing that rough skull. Here's my bisecting, so here's gonna be my top. There's a bottom, roughly and roughly right about here. So I've got 123. Then what I'm going to do is come from the chin. Let's see, I'll make us chin and bow. To come up here. Come up here. That's not too bad, right? If I measure, I'll go on this side. If I measure on this side, measure halfway approximately, this is gonna be the eye line. All right? So I've got the eyeline, I've got that set in. Let's see where do I want the nose? Will set the nose around here and around here. There we go. This is my nice rough sketch. I'm going to back it up just a little bit. Go over top of it and see if I can get some some lines going on here. Oh, you know what I should've done? I'm gonna go back and I'm just going to kind of space up the eyes. Let's say this is the one I, another eye. And this is another I, I'm kind of doing. Let's see, that would be both for eyes across. All right, so I'm gonna jump in here and I'm going to say, I like to start with the eyes. I'm going to kind of come up on this side, come down, come over and over, come up, come down, come over and under. And there's there's one right above. We've got a little bit thick on this pencil right now. We've got the eyebrows right about there, right down here. Knows if I was to roughen it would be like that. And so I can kinda do something along those lines. Finishing these eyes just a little bit. Little bit of forehead wrinkle here. A little bit of that. It's a dude, so it's gonna be not much lip to him. He can have maybe a little smart here, a little bit under the chin. There we go. We're gonna come out a little bit further. And then I had skipped sketched because I want a little bit more of a jaw. And then come up. We're going to start to get into the ear here. The ear starts right about here at that line, comes down to about where the chin is, right here, starts here, come to down. All right, Sorry, where the noses we go. Just kind of roughing this in. Don't want to put a bow. I don't know. So far. We talked about how the hairline comes down and follows that eyebrow a little bit. And then I'm going to bring it up just a little bit. I'm going to do some funky hair here. Gonna be kind of like this. Parts on the side. It comes up this way and comes down. There we go. Neck comes down and then come down. And that is what a two-minute sketch. Two minutes sketch, using all the pieces and just putting it together really simply, really easily. You can add a little bit of the nose in or something like that. I could put more of a button nose on there, right? I can start to add a little bit more details. I could add this part if I want. I actually like to without I can put some crows feet. He's stressed or whatever I want to put on there, you start to add details, you start to add lighting. But that's how simple it is for putting into practice what we've already done. Okay, guys. This is the two-minute wrapup. The reason it's so short is because you've already been through it. All right. You've already been doing it all. We've spent over a dozen units right now leading up to this. So that's how fast phases can get. You just draw the circle, measure it out and for the proportion down, and then drawn a couple of details and you're good to go. Faces are tough, but when you apply this nice and easy system, super easy. Guys, I hope this course was helpful for you and I want to see some of that stuff you're submitting. I'll send me some faces that you're drawing. Let's check, make sure we'll get some feedback going on and stuff and make sure everybody's happy with what they're doing. And then you can draw some beautiful people or some really ugly people. 20. Faces Thank You: Hey guys, that was awesome. Right now we understand the measurements of the face two proportions and where to put it all takes a lot of practice. But I know you've got it. I know you've got what it takes to draw handsome face or an ugly one. But tell you what, if there is something in this course that you're not quite sure on, something that's not working for. You. Shoot me a message, leave a little comment and say, Hey, I'm not sure about this. And if I can answer it in a little blurb, I will. If I can't if it's something more in depth, well, I might just make another unit on it, right? Because chances are if you're not sure, there might be other students that are not sure either love to hear about what you need. So I can fulfill that need. Guys. If you like this course, if you enjoyed it as much as I did, Do me a favor and leave a review, leave that thumbs up. Just tell me I'm on the right path and creating content for you because I'm having tons of fun and I hope you are too. If you are curious though, for the next course, to see what else I've got. I've got about 20 more on this site. I think you would really love. So now you've done this, you can always come back to it. But once you're done, jump on into the next course. See what else learning has to offer for you.