How to Draw FACES from your Mind

1. How to Draw FACES from your Mind: Hey, how's it going? Have you ever want to draw faces from memory, like completely from your mind? I'm going to teach you that in this short course. I'm going to take you for the point as a beginner and take you step by step all the way to the point. Were you able to draw any face you want completely from your mind? I'm Enrique. I've been a professional illustrator for 16 years. I worked on movies like Transformers, Dark of the Moon, and the Smurfs movie. So how am I going to break up this course for you? Basically what we're gonna do is we're gonna go through and start with the basics. We're gonna go over and go over the eye. And kinda some ways I learned how to memorize the eye, then the nose, then the mouth, then the ear. And after that, what I'm gonna do is I'm actually going to go through the measurements of how you kind of form those together. There's some very basic measurements that you can follow and it's going to make it a lot easier for you. Other than that, I'm gonna do a video entirely on how I personally memorize basically every feature and how to put them out every single time. And that's pretty much it. So what I want you to do is I want you to stick around for the whole lesson. I want you to watch everything. And every single lesson in this course is very important. At the very end, we're going to talk about homework. That's pretty much it. So let's hop right into the lesson right now if that sounds like a great idea to you, if you want to be to draw faces by this afternoon, Let's jump in right now. 2. Draw Eyes from Your Mind: Okay, So it's all about memorization, right? And so because of that, we're going to go over the basics of a face, not even the whole head. Just kind of a face and how they interact with each other. So right off the bat, we're gonna go through each individual facial feature. I think it's gonna make it a lot easier, okay, and I'm going to do some memorization truths. Let's start with this video can be about the eye. Alright? So right now, off the bat, the I in general, right? When you kinda look at a general AI, there's complex wrapping of skin that I think people forget a lot, especially beginners, which is why I'm talking to hopefully. And there's that wrapping form. What's the first kind of AI that you always see people do, right? You always see the, that's the way I would draw an eye, but the general public would draw the eye something like this. Right? You always kinda see that when people do it, they it looks like a peanut, right? Looks like a peanut shape. Very even on both sides. And the eyeballs like right in the center, right. So we know, right. This is like No, I'm going to make sure you guys remember not to do that. This is a no. This is a yes. Okay. So really just take a good look at the differences here, right? Peanut scared, right? Like it looks scared because the iris and pupil just kinda floating in the middle. There were a real eye right here, wraps and it's also, um, because the eyelid goes down a little bit, It's almost always see the iris and the pupil. It's almost always hidden a little bit below the top lid or bottom right, depending on who you are. But almost always like it hangs down this kinda stuff, this inflection, its skin wrapped around the eye. And so we're gonna, and I'm gonna show you what I mean by that. We could throw like an like a lid right here if we want top of that. An extra lid. So let's go over really fast. What I'm talking about as far as what it is when you look at an I and I is literally an eyeball. I'm sure you've seen movies and Mortal Combat were just like anatomy. It's literally a ball put inside of a socket of like if we look at it from the right side here, put inside showed in an eye socket, right. Of your skull? Right. Let's draw a quick little. I don't know, like quick representation of a skull here. Real fast. I'll be here re, let's say over here. So we've got our skull shape. You don't like like think of it more like an anatomy chart, right? Kind of like this is the the skull of your head. This ball right there is. Let's put like the part inside. This part is literally shoved in there into this eye socket. It's not floating above. And I think once you get that, once you kind of understand that concept, things become already a little bit easier when that happens. You're like, Oh, okay. It's not just a floating surface on a paper, right? It's not flat. There's literally some depth to that Chevette eyeball. And around this, if we were to zoom in on like that eyeball, zoom in on this eyeball, right? Let's create a bowl shape right here. If you zoom in on that eyeball. What's occurring is while it's in there, right? Like part of it is in there, right? It's part of it's actually inside the skull. There's actual skin wrapped around it, right? So literally over here you literally have the eyelid going around the corner. Right. Wrapping around that. I almost like when you look at if you go to the grocery store and you have like oranges or something, I don't know. I can't really think of a metaphor, but just think of like a grapefruit or something wrapped around it, right? Like you're wrapping like tape around. You're wrapping literally the top lid right around that corner. Right. Let's do that like more clear. You're wrapping it around that corner. And same thing goes for the bottom part as well. You have this scan. It's almost like a torn open skin. Like not not gruesome, but that's kinda what it's open. It's an opening. Then you have stuff like this, like the brow and things of that, so on. But that's going to make it, I'm going to draw this on the kind of floating over there. Just to kinda, I mean, this is just kinda show a diagram of what's going on. Right? You have the iris and the pupil in there and you have the iris over here. But that's a good representation of what's going on. Right there. That alone is going to carry you more than 95% of people that do this because beginners don't even know that. Okay? So that would be the I, how do I go about drawing? And I generally write like this. So it's gonna be, there's gonna be one on two sides, right? So let's just say this an eyeball on flew over here on this side. But let's just say we're this is the nasal area, right? Like the nose front view. And you have the I on this side of the eye. On this side. You'd like to think about it a little bit more than a peanut, right? You don't want think about it. You wanna think of it in a geometric form. So what I like to do and what everybody does. If you think about it as a geometric form first. And there's a peak on the top part of the eye on this side. There's a little one right there too. And then there's a peak, pretty big peak over here on the bottom right. If you were to have the eye on this, I remember this is the nose. This is our imaginary nose here. But this i is a little bit of a peak here and a little bit of peak here. Same thing if you look at this right here, peak right here, right? Little peak there. And then there's like a very, very subtle, if anything, peak right there, but it's curving a little bit. You want to make those peaks organic. This is just a way to look at it as if it was a robot. I, and I might even make it more like this. I'm going to take that part out of it. But that's the way I look at it. Excuse me. That's why I look at it as a geometric shape. But you make it organic like that because that's what we are. We're rounded skin and things like that, but giving it some structure really, really, really, really helps out massively. Okay? So that's what I think about in my eye. And it's the opposite on this side, right? I think of the geometric, you know, the peak is on this one right here and the peak is over here. Does that make sense? The other side. So knowing that I drew and I just like that peak. And so on. Let's go over really quick. Okay, so when we draw another eye over here, Let's go in this area. Hopefully change the camera. I'm going to, when I think about stuff like that, I'm thinking with the ball of the eye, the skin wrapping around it. I'm literally thinking this stuff like subtly. The top lid, let's just say, like I said, that's that extra wrapping around the eyeball almost like you're wrapping up present or something curving down that i and then the bottom wrapping, which would be the bottom lid. And you don't want to draw the bottom lid too crazy on some of that. Let's just say somebody who ought to make someone look younger, that's not the best thing to draw that much of a lid. Maybe control a little bit of a lid here. If someone's younger, but if someone's got like wild back into their eye, you can totally do that. But same thing. See how subtle. It's like a little, if anything, peak. Sometimes you don't have to do it, but I would always draw this peak. So there's like a subtle, very subtle curvature right there. And you're like, Oh, what is that? It's a little bit of that extra thing going on right there, that extra opaque, but this one is usually more prominent. And again, different eyes have different looks. So you have to kinda look at the eye, but this is how to draw stuff from your head. And I would say you're always safe without peak on this side and that peak on the bottom. If there's even any peak. And this is called the sclera. Sclera is the white of the eye. We're gonna go over here and curve into the iris right there, which is the colored portion of the eye. There's almost always a highlight. And then curving right here. You got the dark part, which is the pupil. And that pupil tends to blend in right here into the, into the highlight. It just looks better. It looks more natural when you put that dark and it carries in. Right? Makes it look more real. Right here there's a tear duct which is a little tiny circle. You don't have to do that unless you're really zoomed in on that little tiny circle through ducts. And then you have this kind of a, because this is, I'm drawing this, I write essentially when it leads into the nasal cavity, there is a dark point right here from And like I said, you have that little crevice right there. Things you can add on. Things you can add on would be things like eyelashes, right? For more feminine type. You can absolutely add extra eyelashes and much as you want, you can add to the bottom or the top. The way I like to do that as like to thicken the line just a bit here, right here on the lid. And then as I thicken it, I kind of pull out some of those separate strands. You can do the same thing on the bottom. Experiment with that. How many you want to do? I like throwing out lines right here in the the iris. That's also helpful as well. I believe that's all you need to know as far as the eye goes. Oh yeah, let's take care of the eye and the left view as well. If you're, if you're looking in this direction, since it's wrapping around like that, it's gonna look kinda like this. Think of like a Pac-Man symbol. Curved line right here, a little bit of a layer. Remember that there's a layer wrapped around that same thing goes here for the underwriter. Curved line here. And you're going to do the exact same thing, but you're barely going to see it right there. So the eye is looking out that direction. It's really, really simple. But I would always have that eyelid. I would always tuck unless it's like a scared face or they're looking similar direction in a weird way. I would always talk that iris under the eyelid because it makes it look much more natural because that's mostly what it is. But other than that, if it looks the eye looks upward, there is maybe a slight difference and angled normally just kinda does this sort of thing. If you're looking at, like if you're looking up at someone, right, you're going to see it a little bit thinner. But for the most part it's like almost exactly the same. That's why I only teach really like side view and front view. And you're going to have most of it right there. And there's very weird angles where you're going to need to draw it that way. But that's what I would do. Okay, so let's move on to the next feature, and that's everything you need to learn about an eye. 3. Draw a Nose from Your Mind: Alright, let's get into the nose in general. I think there's a lot easier. Okay. We're gonna go with a male and a female real quick knows wise on average, right? Because things change. Okay. So looking at the notes really quick, when I think of like the nose, I think of like the side view, which is something like this, like looking at it completely from the right side. Underneath the nostrils here. Then you have the wing of the nostrils. A general nose like that curve here. And so let's, let's kinda rewind and go over what that is. So the nose is not a bone, right? At least part of it is bone like right here up to this point as bone. Then over here is cartilage, right? And you're going to find that cartilage is much more malleable from person to person. And because of that, you have these very large varieties of noses right from upturn to down. So like realistically you have, let's say the inner skeleton right here. Let's draw the inner skeleton. Right? About this point. That was like kind of framing from the skeletal portion of it. And that kinda helps me understand kind of what I'm looking at. So maybe this is a skeletal portion and then the nose again, this is the cartilage part right here in this area from here to here at cartilage. And that's going to vary so much. And like I said, so let's think of like different noses, right? So you go like right here, it pulls down the university people with those really big hooked noses where it hangs down almost over the mouth. Almost right. Then you have something like you have something like that. And then in comparison you have maybe an upturned, almost like those animated type knows is that on people though. And you have everything in between. So that's really something to keep in mind, is how much variety there is. And this is just the side view, right? Real quick, just to go over the parts from the front. When I'm drawing something, for example, like this and the front, I'm thinking I'm only a couple of parts. And it's cool because I think this is a relatively easy feature despite all the variety because there's not a lot of movement going on because it's bone and cartilage. It's a little bit different that wrapped into the muscle yanking it. I mean, of course there's expressions to it, but I could change this like a front view. Okay, let's go over the parts real quick. If I was to throw this into a geometric form, which is the way I like thinking about everything. I'll do something like this, maybe the top base, I don't remember what it's called exactly, but that's the kind of geometric short form I'd like to take. Then I go over here to the bridge of the nose. Right? That bridge is essentially the long portion of it. And then over here pull out, pull out and have the wings of the nostrils. Wings of the nostrils. And that's the way I'd like to think about it from the front view, completely front of you. When you think about it like that, you can draw it like this by excluding information, right? I'm taking out, I don't draw every line. Right? You don't want to draw every line would you normally want to do is kinda draw like usually the bottom part because sunlight and artificial light comes from above, some outside. So we're almost always kind of having this upward, a little bit dark right here, which really helps under the nostril area. Okay. So that'll be like from the front, right, this would be from the side. I was going to say you can kinda look like looking up the nostrils. So let's like even break it down even simpler when I draw nose, I like to think about it even more like a geometric shape like this, like this triangle, right? Let's say this is an eyeball over here, I over here. And then this is like the bottom of the shape. And this is a top. I like to think about it like that. And you're kind of working with that wedge, right? And then you can break it up into nostril bridge. So I'm always thinking about it from that side. So saying that, let's look at that bottom wedge. Let's say we're looking at a write up some of the nostrils. Right here. We can write up somebody's nostrils. It's gonna look something like this. Let's fill that in. All right guys now so here, if you want, you can draw the bridge out over here somewhere, you can barely see it. Then maybe I can draw the philtrum, which is the top of the mountain, but we'll get to that later. So if I'm looking right up the nostrils, it will make this sort of shape, right? The ball of the nose, which I haven't talked about yet, but I will in a minute. Right down here you see the septum. You see the wings of the nostrils from the, from the bottom side and a curve in like a heart. And then you have the holes on the nostril right alongside there. Let's label these front, I guess, underneath, under and then side. It's kinda make sense of these notes, geometric form right here. And so we start with that. So let's just, let's just kinda put it all in a row here. Okay? If we're going on this side over here, we're going to start with a geometric shape, which to be honest and straight up looks like a triangle. Right there. Let's just draw lines here, and this is underneath geometric form right there. Okay, let's add more detail to that. Curvature over here. There's a ball of a nose which is essentially obvious like these kind of muscle at the front of the nose. Some of them are bigger than others, right? How much you can see somebody you can just split, see a split on it. We're gonna go over here, curve right there a little bit to see that the whole the nostrils kind of aiming downward curve to the back. Right. You're breaking it down like that. You can even leave it like this. By the way, this can be the final version of it. And then you have something like this, right? The geometric form. And then right here you can throw a little bit of like let's just draw the same thing right now. Right? You can always add more information like curved line underneath the show that there's a change in plane right here from the ball of the nose to the nostril area. Curve underneath them. Maybe really fill out the whole of the nostril here. Can even draw like the last line right there. You can draw the ridge right here, like the bridge of the nostrils ridge area. That's going to give it even more information which is kinda what you want, right? So this would be one. And this is my way of thought process. You don't have to draw a straight triangle like that, especially if it's an MI. That's kind of thought process one geometric to kind of break it down. Three more information. If you want to break this down, even, even more geometric shapes like this guy, you could do. Let's go, let's go to front view. You could do the same thing and then add the ball of the nose right here, which is like a big, literally what it is like a bell-shaped curve over here for the wings of the nostrils of line over here. And then kinda adding that fall on the front of that nose there. So let's recap really quick. I'm going to show you through these notes really fast. Like I said, as far as male and female goes, this is enough explanatory, by the way, and by the way, guys and girls have both types. But we're talking about like generally what shape it takes, what in cartoons, right? You tend to draw, it will move a smaller nose, generally not always animate everyone has a small nose, usually. Big noses tend to make you look older because as you grow older, the cartilage in your nose grows a little bit as you get older. So your ears get a little bit longer and your nose gets a little bit longer. You an old person? Like I mean, like like an elderly person. That's why that tends to like signify more age. And so when you draw stuff like all petite, you want to draw them more like that. Not always does. Everything is never. Just general is let's go back through all this, okay, just to kind of run through it, I start with a geometric shape. We're going to return side view. Right? This is the nose is made up mostly I think it's mostly I can say that word of cartilage. And that's why you have a variety of different nose shapes that bumping the nose is bone usually usually depends. Like I said, this variety from little nose is like this, upturned to downward noses and everything in between. It varies so much. Over here in the front view, breaking it down to a geometric shape and just kinda understanding it that way. You don't have to draw that and every time you just kinda have this in your mind and then you take out the information you need, right? And that's why we're only putting certain lines down the bottom here and the curvature of the edge of the ball of the nose, a little bit of a ridge as well on the nose itself. I use a thicker line at the bottom here. That's just what I liked because it catches shadow. And right here this area is not catching shadow. And that's personally why? And then drawing, if you look up someone's nose, this is the ball of the nose, like that. Ball of the nose going on this symptom, that middle part that separates. And then you have the need to make it look like peanut shapes, I guess the nostrils. And this is the wings of the nostrils. Same thing, just different angle that's looking under, looking up. So I start one with a geometric form. In my mind too. You're putting down just kinda general construction of it in three. You're putting in these little things right here, which show? They show form. They show exactly what the shape of things are you just did on these thin lines to show information which probably you wouldn't obviously aligns don't exist in nature, so you wouldn't have that. Anyways, I hope they'll self-explanatory. Let's move on to the next lesson. 4. Draw Lips from Your Mind: So let's go over the mouth now. Okay? So the mouth in general is a little more complicated because the expressions, but let's go through them real quick, okay, as far as the basic mouth, right off the bat, thinking about it, the way I like to draw mouse is I find the corners of the mouth first. Almost always. Find the parting of the mouth. Find the top part of the lip there. I think he's called the philtrum. Curve down over here than over here, excuse me. Then find the lower lip. That can vary based on what? If it's a guy or girl? Usually when you do like guys, wherever you can omit that top part, it makes it look a little too feminine over here. Like so. We don't like to kinda draw the mouth here. And then just kinda lower-left that sometimes you can shine a little bit of that and then you do just the top part over here, that philtrum area. And that's it. This can make it look like lipstick and you don't want to make it look like that too often, because it'll just make it look like a girl. But alright, so really quick, Let's break this down. Okay? That's the way I like to draw that stuff. If you think about it as a geometric form, right? Which is a great way to think about it as you're going through it in your mind as a geometric form. I like to think of it as these two mountains stuck together. And then the bottom is more or less just kinda boat or something. Because they're thinking about it in a geometric way. Some, another thing to think about is there is going to be this peaking down, then happens is peaking down in the center. And another thing you can possibly think about, if you want to think about a different way and you want to break it down differently, is you can think about it like those two peaks. Peak down here in the middle and the bottom lip is usually separate, not always, but can be separated into these two pillow shapes. All right. There. Right. So there's two kind of below shapes, this fat pads, usually it's drawn as one. But like some people, you can see the actual split in it. And that's something that you got, have to figure that out, but that's the general way I like to draw lips. So if we're going over here on this side, let's just say we're drawing it on the left leg is slight. Let's say the lips are slightly turning away. I still find the edges first. I tend to find a center that v curl over here. Or over here for the parting of the lips. That U-shape at the top. And let's say I draw the bottom lip. And I might do that as well. We're a little bit overlapping. They're not much different. Not much different. If you go into the side version, like it, let's say completely they're either side of me there like an profile, something like that, like a Pac-Man symbol. Find part of the mouth. And I find the lower lip, and I find the upper lid. And depending on the types that you wanna do. And then right here, unlike the mouth itself, onto the chin, here, the philtrum. So this would be the lips are facing that direction. So a couple of things to think about. Does the person have an under bite like I do, or an overbite that you can kinda play with that in profile. So for example, maybe their top lip really sticks way. More outlet the symptom character. Or about their top. You see some people like that. Again, they're facing that way. Or it's the reverse or they have a pretty small lip and they have like my mouth where the lower jaw sticks out more, pushing the lip type out, something like that. Again, I'm going to draw the arrow that way to make sure you know what is facing that way. So these are the variations on the side view. I don't see too much more. Obviously there's thickness thin. You want to play with types. So for example, from the front view, they can have a very, very thin upper lip, right? And then they kind of like this huge lower lip or the reverse, right? You can draw a very large upper lip and a very small lower lip. And that's the kind of stuff you want to play around with, like what the variations, but it always, always starts, right? Let's go back to kind of go over here on this side. It always starts with me. I start with edges of the mouth. The middle usually like to find that middle. It's arching down. Sometimes it doesn't, sometimes it's just a straight line. So it's up to you. Line, line, straight. Then I go over here. I can either go to the upper level of the lower leg. I'm gonna start with the lower lip. Find this center portion that philtrum at the top, and then curve that line over, curve that line over. It's not going to run right into the mouth, is going to run right next to the corners of the mouth. And that's pretty much it. If you want to draw, again, you can shrink the upper lip. And if you're looking up at the lip type, it's more or less exact same thing. So I won't really go over that. It's really simple. That's pretty much it for the lip. As far as the lip opening up and expressions go. That's another lesson to be honest. But you can always do this thing where really you're opening up the lip there. It's not quite like the eye because the art, it's more complicated than the eye. Right? And you can feel like the teeth here with the eye. That's a whole different lesson honestly. But with the eye, the eye is complicated, but I would say the lips are more complicated because it can be so much more. And they, they, they, but anyways, different lesson. Anyways, you don't need to know that right now. Let's move on to the next lesson, okay. 5. Draw Ears from your Mind: I mean, it's it's relevant that I think you have to know this is kind of an area where people treat it like a chore because no one really cares about ears right there. Like I think their organs as well right there now features. But we're gonna go over it because I think there's a part of it. So I'm going to be the easiest, easiest way to do this. Okay? Think of a question mark. Question mark with the letter y shoved into it. That can give you a good base of an ear, right? So let's say we have something like that. At that lobe down there hanging out over here. And then you have the Y shape in it right there. You try to make it look more organic, but then it doesn't really account for the tragus right there. I think there's a trace, right? Am I got that wrong? Forgot this part is called part of the cartilage there. But thinking about it like that, like, you know, again, question mark with a Y inside of it. It can really, really, really make things easy. It'll get you almost all the way there. Again. You're going to just add a little parts like this part to it. But I would, I would say that the easiest way to do the ear. And I would say also, if you look at it from behind, It's kinda like a circle. Kinda you were you were seated behind your ear. A lot of you don't care about that. It's kinda like, like let's just say this person is facing away. It's kinda like this bizarre shape. You know. It's I don't know what you call it. Like the canal starts to kind of show the canal doesn't make sense. The cows on the inside. But it's, this, is this part in the back of the ear that attaches to the head. Forgive me, I can't think of the name right now. Really, really simple. That's part of the shortest one. But practice your ears okay, For Reals because you'd be surprised I see a lot of beautiful portraits and sometimes you'll look at their ear and it's like you like what? Like it's not, it's funny, it's not the focus, but it will affect your drawing. So you have to practice this, okay? Be able to draw an ear from your mind, then you can kinda like angle it out as well, right? You can, it doesn't have to be like a complete round shape. You're, you're the one that's going to, you know, kind of affect how you draw it, right? You're gonna have your style of beer and you can kind of make it any way you want. Well, that's kind of all I have to say about the ear. Honestly, that's the shortest thing. Let's put all these features together. Okay, Let's go over some measurements. 6. Measurements of the Face: Okay, really quick. Let's go over a couple of measurements right here. So you have like let's say two features as if the eye, the eye and the nose are here at my little simple face, you want to focus on this triangle here. This area between the space between the eyes as far as how the spacing space between the eyes and the nose, more so than even the mouth, right? Within reason. Right. You don't want to make the mouth all the way down here. Something like that. Whenever I tried to get someone's type. And obviously this is all about memory and kinda stuff like that. Whenever you want to make it look human, don't let the nose float away. And definitely if people can have longer noses, but sometimes people let it float away and you know, maybe too much the left. You want to think about this triangle area. Just kind of basically focus on it a bit and kind of nailing this area that the space between that and you're gonna be really successful, I think drawing faces. So anytime you do any sort of face, I'm always conscious of the spacing between that stuff because people will let that stuff go a lot and I think it's to the detriment of their arts. So let's say that the face is turned a little bit to the left. The nose there, line over here, curve there a little bit. Eyelids. And now what I'm just doing very, very quickly, right? Going over here, philtrum, mouth. Start usually with edge to the mouth here. Right? Very tired looking face or an eyebrow. And here I will get the eyebrows. Eyebrows are messed up a little. There we go. Anyways. That's a quick face there. I'm always cognizant of this triangle here. Even if a nose, obviously, as it turns out within the front of the nose, is going to stick out a little bit more. But that's kinda what I'm thinking about. What to focus on this little triangular area. But let me do some more demonstrations as far as that goes. That's part of the biggest measurements. Remember? If you want to remember, Here's another general number. Measurements, I would say. And again, since we're doing mostly only faces, but I'm gonna go to the head as well. So when you go like this, let's say you have the eyeball over here and the eyeball over here. Remember I talked about how the eyeballs in the eye socket between the two eyes is usually another eyeball shape. The distance, it's about an eyeball shape. And then on the outside, like all the way to the edge of the ear. It's another eyeball shape. This is just a general measurement to give you a ballpark range. Obviously, a lot of people's eyes will vary, right? How far away and how close they are. A varies. But generally, it's about an eyeballs, the length in the middle there. And I don't mean like the eye itself, like eyeball. Right. So that's something to keep keep charge of. As far as the spacing goes on the front ahead, you want to like let's just say the front of the head right here where the forehead turns. That's a very, very top. That's where the hairline is and I don't mean like where the actual hair is. I just knew where the head starts to go from forehead and it's turning into the top of the head. Mark that area, mark the bottom of the chin, and then divide that into thirds. And you will get the brow and the bottom of the nose here. Let me go over that more explicitly over here. Okay? So again, you wanna do, Let's just say you have a head here. Draw a line down the center. You know, kinda center line keeps things balanced, right? And the other chart, remember that? Let's say I mark the top of the forehead way at the top of the forehead where it starts turning into the hairline right there starts to turn to the top of the head. So you have the hairline down to the chin, this area right here. And divide it by three. Bom, bom, right? Just ballpark it by three right there. And then what this normally is. And again, this changes per person in-person, but this gives you a ballpark idea, which is about creation. You will get the top of the brow. Brow, you know, not, not the eyebrow for stable like the brow. And then right here you'll get the bottom of the nose right there. And I don't mean like the bottom poking part of the nose. I mean like where the nose comes back into the face. And it's like that and every view as well. Obviously, I guess, right? So like if you turn your head, it's going to be the exact same thing over here. You're gonna have the AI bottom of the nose here. Generally. Remember that. Generally, when you draw from memory, you're drawing from generally write that in there. I just drew myself. I'm a big nose like that. But those are the most important measurements to remember. Let's go back and review this. Okay? Number one, when you're drunk from the front, focus on that triangle and I mean, visually, mentally, right? You're thinking about it a little bit. You don't have to like draw a triangle and trace it, nothing like that. You're just consciously aware of it as you do it like, oh my my eyeballs floating away, you know, stuff like that. You have to kinda be aware of that two eyeballs lengths in general with a head right here is let's just say you have the two eyeballs right in the eye socket. Between them. There is roughly one eyeball length between them. Roughly same thing on the outside of the head all the way to the edge of the ear. Again, that depends on the type of ears, but we're just giving, you know, ballpark measurements over here as well. He split the head up into thirds from the chin to the top of the hairline, to the hairline again, has nothing to do. The hair that can be bald. It's where the forehead starts to turn it to the top of the head. Right. That area where you're like, oh cool, it's not cool but you know, it is cool. But you're kinda like, Whoa, okay, this is changing now. That area divided into thirds, 1 third right here is the top of the brow and right here is the bottom of the nose. Those are the most important measurements I think about when I'm drawing any sort of face from my mind. And I will draw several phases right now for you in the next video so I can go over my entire thought process. Let's jump into that. 7. Demonstration of Process: Okay, cool, Let's have fun. Alright, let's go over some faces as we talked about. So right now, I'm gonna go over, I'm going to draw the center area of the two eyes right there. I'm going to pull out same thing. Trying to find the top of the eye. Over here. Curve underneath. I'm drawing an ink by the way, I normally in pencil is much more forgiving a lot, a lot of ink, ink stuff, I find it really fun. Curl we're here for, we're here for the pupil, the pupil and iris here. Highlight, highlight. You can either, I tend to make my highlights square just to kind of make it different than the pupil on the inside. We're here, up line down here. Let's do that upper fold of that upper eyelid here. Underneath curve underneath the I would say there's if it's too thick of a line right here on the right. So I'm going to even it out by making the line on that side of the nose. I'm kinda nose and my thinking, again, thinking about that triangle in my head, draw the nostrils in there first. I wanted to have like a smaller dainty your nose maybe nothing too small but right there. Curve right here. Can you guys see the Volcanoes really small? And the line over here for the side, you could draw a line on both sides but not too heavy. Let's go over here to the brow. Here, the philtrum than over here. And I actually started with a center that's titled lifts that I don't normally do that. No. I start with B side ellipse. We're here at the top panel underneath there. I can go for more feminine right here. So I'm going to give a thicker, thicker eyelashes right there on that one. Big eyes too, on this one, honestly. Almost too big. All right, there's one face, just for fun. Let's try to do a drastically different phase. Draw the top of the upper eyelids here. I'm trying to think of more square, more angular. And I spaced out the eyes of a tad more. Line here, line here. Down. Underneath the eye. Underneath the eye there. Alright. Let's do the iris right here. Iris right here. Circle dots. Now on is going to be a little more circular. Alright. See line right here for the bag and VI is on one side by side. All right. Bottom of the nose start with the center nostrils. Nostril, giving a pretty big wings of the nostrils. If I'm thinking about too, is also a lightweight stuff. Either don't have to think about if you do it in pencil. Has for the most part, curve right here, curve underneath, you know, very round. I've seen this. My sister, my sister has its kinda knows Around nostrils and see how different this is a little more angular nostril to more round. I'm going to go over here to, well, I'm going to actually start with the eyebrow. Pretty gone one direction. The center there as well. Pretty big eyebrows made up of lines. Their career right here for the bridge. Start with the center of this time. Again. Pulling out the mouth, pulling out almost to four, almost caricature life. But to make it an example, groove underneath the lip. Philtrum right there. And it'll get darker line here. Right on. That's a really weird face. It looks almost too cartoony, to be honest. That's debatable line here from the nose for the kinda cheaper than the laugh line. Okay. Let's go over here to the bottom. Do another one. This one's gonna be more three-quarter. Draw animals that fly their eyelid. Right there, the eyelids pretty big. Sorry, I tried to make it darker. I don't know why this one's like so I drew it smaller. Curve, curve. I'm gonna go with some eyebrows right there, but then I draw another direction over here. So a lot of this is like you're toying with different types. Right now. You're saying like, how much can I stretch this? How many different curve right there? How many different bottom and knows their nostril. How many different base types can I come up with? Line, line, line over here for the philtrum, pull down. And this starts to become the exercises. How many various heads could you, could you do? It's pretty, it's pretty infinite. It really is. We can just kinda keep going. So for example, we have our head there. I could maybe throw more lines underneath the iser, which agent is the person a little bit. And also I can throw more lines right here are the lifeline which also ages a person. Right? It's just, it's this one. Maybe I could fill it in and start doing a dot right there. I can fill in the entire eyes because that's usually shortcut before somebody has really dark brown eyes. And actually kinda helps the image right there. Some bond and do another one over here. So I'm gonna go here. And the cool part is when you're doing this stuff. I like books. The reason I like focus, this is a great exercise, right? Obviously you can do this with heads as well, like full-blown heads, but that's a different lesson. But right now I think it's very valuable to focus on just the face to kinda nail that down. Because if you can nail that, I mean, that's really the focus of any head would be any base right here. He just kinda do this and you can do this like every day for a month. And you're going to just start playing around and it's gonna become fine. I understand initially though it might be tough but don't worry about it. Let me see. I'll talk more about that in the next video. Curve right here. Wind Dan. Dan. See you right there. I feel like I need more information to show so I might throw the longer line, right. The, the the the bridge of the nose there. Looking at that, I feel like the mouth is too high. How would normally have moved it down? But that's kinda what practice is. Right? Curve over here. So those are five heads. And like I said, you can kinda make them extreme. Let's do a really extreme one. Let's do a curved line here, curved line here. And let's draw a really large like his eyes are like basically half-closed, right? We're here. Line underneath. Line underneath. I don't want it to be is to squint. Fill that in. I fill that in now. Okay. Line down here. He's going to have my face is very tired person. I don't sleep that well, so I mean, I just sleep pretty well but he's like permanent bags in mind. Let's do the nose bumping the nose. Basically, given this guy my nose now. Pretty wing of the nostril. Pretty flattened mouth. That's pretty much a cartoon right there. So you can kinda toy around with this stuff and kind of see like what direction you want to go in and kinda changing the volume, knobs and stuff like that. It's really going to get you incredibly good at drawing this stuff from your mind. But yeah, let's just focus on the face. Alright, let's move on to the next. I'm gonna give you some tips on how to practice. 8. Memorize: Okay, so let me get a couple of things on like memorization and how you can do that and how you get distance from your mind. Try to cope with a template, come up with your typical, this is obviously experimentation, but try to come up with a face that you draw all the time and you probably gonna do it naturally, right? Couple of the face, male or female. Just come with a face that you have and drill it over and over and over and over and over again. Get a sketchbook that you don t value. Don't get like or you can just have a stack of papers like this and do the whole page of them. And it's not even so much the amount you do in one day. I would say just do it on a regular basis. So for example, if you want to practice like ten hours a day, once a week, or do you do you practice like one hour a day? Every single day? Do the one hour a day? Every single day. I don't know what it is, but it's just a lot better. It puts you in a routine. You're kinda set in this kind of like neutral to like turning on that part of your brain. Part that is a lot better. So I would say absolutely practice every day. That's a huge thing, right? You hear that all the time, right? Almost like it's homework, but it's true that really will get you to memorize things. I would say cup with your template, cup with a like a regular eye shape, nose shape, mouth shape that you tend to do all the time. And make sure you got that. Makes sure it's readable and it's repeatable, right? Make sure you can repeat it. And that's kinda what we're trying to do. Massive, like now that you have all this stuff is you can practice properly, right? And if you don't know, go back to some videos. Maybe Lee was elliptic like that or how was the lips? If you wanna do that, go back and look at those videos. But this is all you really need. And then you can also experiment as well. But I would try to come up with at least one head you can do over and over and over and over again. And you build off that. You have your repertoire, you have your one thing. And then repetition is so unbelievably important. Even if you don't think it is. Even if you're like, Oh, what's the point? I already did this, this way. You'd be surprised. It starts to build up over time. And the thing is, when you do any skill, you just become more and more proficient at it. And it's vitally important that you do it over and over again. And it's kinda hard to explain that unless you've actually done it. But once you do it, you'll, you'll, you'll see the very clear benefit to it. Because other thing you just do it, you'd be like, Oh, I should like, turn it this way this time or all of a sudden you're like, You know what? I'll add a little bit of wiggle, a little bit the eyelid here. You'll just start doing this stuff after repeating it over and over and over again. And it's gonna get easier and easier, easier. Because it's gonna, it's gonna be ingrained in your hand as well, even just muscularly to the Muslim your hand. You're going to get it in there. You're going to turn your wrist a certain way. So keep that in mind. Repeat it over and over again. The other thing is, and this is going to sound corny, very corny. So prepare yourself. You have to know that it's possible. You have to be like, okay, you know, I made that mistake and that's what it's all about mistakes. This whole thing is I'm making 1000 mistakes. But you'll get it, you'll get it down eventually, okay, cool. You just knowing it will happen is probably the one thing that changed my drawing more than anything. I prayed improved more. Just that doing that like really believing like, Oh yeah, I know I can do this. O being truthful like, oh, that didn't work out but I'll get the next time or I'll get it eventually. Thinking that way is going to save you. Honestly, it saved me and allow me to have a career in art and hopefully that's what you want, do it to. Hopefully, you had an okay time hanging out with me here if you stay till this point and you are amazing. And I thank you from the bottom of my heart. Checkup, my soma, other programs on here, and I will see you next time. Okay. Message or artwork. Basically put it out there for me and I will absolutely let you know how that works. And yeah, definitely post your art. That's gonna make a huge difference and I will critique it. Talk to you later guys. 9. Final Thoughts: All right, You are amazing you completed the course. I want to thank you very much for getting this far. You are awesome. Now comes the part where you take over, okay? You should practice as much as you can, make, as many faces as you can. And I want you to post them to me. I'm going to critique each one and let you know maybe some thoughts I have. That is pretty much it. Like I said, what I want you to do is I want you to stay positive as well. Keep practicing, and I hope to see you in another program. And if you also want to request a program for me to make, I will totally do that. Thank you so much and I'll see you next time. I'm very humbled. See you later.