How To Draw Heads & Faces: Drawing The Nose

1. Introduction: Hey, it's Clayton in this class. You're going to be learning about how to draw noses. First, we're going to discuss the fundamental building block of the nose. Then how to draw it from the front side and three-quarter views. Also, the more dynamic representations of the nodes from the top-down and bottom-up perspectives. By the end of this class, you should have the confidence and competence to be able to draw noses from almost any angle you would like. Alright, let's jump straight into it. 2. Nose Block Form: What I want to introduce you to is this block formation that I like to think about what the nose and the reason as to why I would like to show you that first is because for me, it just helps me to be able to turn the nose around in space a little easier fitted onto the face. And also as the head turns, how the nose actually turns with their head. So here it is. It's, I'm going to just do a little diagram up the top of the page here, just to start out with, but this book formation, it essentially it looks a little bit like this. And you can practice this on its own if you like. It's quite an easy shape to draw. What it represents is you've got the front of the nose, the front of the bridge of the nose. You've got the underside plane of the nose right here. And then you've got the sidewalls of the nose. So try to get used to just drawing. This is very basic, very fundamental block formation of the nose. I'll provide some references for you to take a look at this in closer detail as well. I also add some little divisions around the base of the nose too, is how it looks from the front. We've got the underside plane of the nose, we've got the sidewalls of the nose. Those sidewalls, you notice that they don't just go straight back. If we were looking at the nodes row above. Say that we had our front plane here for the nose bridge. Side noise planes, they actually come out a little bit. Right? Now. You can also add some anatomy to the nose if you wanted to scribble that in there as well just to know what's going on underneath. And I'll do that right now with just a red pen real quickly. You've got the bulb of the nose here, which is one main piece of cartilage. And then you've got the nostrils, of course, that also cartilage. For the most part. Sometimes you'll see the nostril on the opposite side of the nose here as well. But the rest of these sections here, they're actually bone. For the most part. You'll notice that the tip of your nose is really squishy, handy for when you have a habit of bumping into walls. And then the rest of your nose is very hard and solid. That's not very malleable at all. I like to think of the bulb of the nose is it almost looks like a, an apple that's been divided in half. Then you've got the nostrils sit on either side of it. And then again, you've got these the top area, you've got the front plane of the nose and you got the side planes. When we're looking down at the nose. And what you end up seeing for the most part is just the bulb and you've got the nostrils there too. Now, this anatomy isn't going to be all that defined in the final drawing of the noise that we're going to be demonstrating here today. This is just what's going on underneath the surface so that, you know, it's there. Right now if we're looking at the nose side view and you can practice all of these diagrams as well for yourself. For sure. That'll certainly help you too. Quibi, develop a memory bank of references that you can draw upon when it comes to drawing the nose if you ever get stuck, this is what these are good for, is that when you do get stuck drawing a nose and you don't quite know what's going on. You can think back to this stuff and you go, Oh, okay. Because this is the fundamentals, this is the basic structure of the noise that we just want to keep in mind. Not something that we're going to draw every time that we draw the nose. Certainly not. But it's certainly, it's something that we can think about help us out. Once again, controlling the anatomy on top of our block form. They're read to understand what's going on. It's pretty much hit. All right. So with that in mind, and this isn't going to come in really handy later on when we start to draw the nose from above and from below. That's when all of this fundamental knowledge and the goings on of what's happening underneath the skin is really going to come in quite handy. 3. Nose Front View: So let's start off with the front of the nose. Now for me, this is very, very simple. It's like insanely simple case. So if, if I'm drawing like a male character, I might add in a few more details here, but honestly, let's say that we've got our, our head drawing and we're at the point at which we're ready to draw the nose. What I'll typically do is I will simply lay in a line at the bottom of the nose. And usually this line is going to sit on the dark side of the nose. And it's describing the bulb shape, right? So you can start with that. And then from there I draw that. I draw out one nostril opening, a little bit like this. And on the opposite side of the bulb, I draw out the nostril open and other unnatural opening, giving us two nostril openings, which indeed we have. Then I'll add in sometimes a little line, is to describe the top of the nose bulb. And that's about it. Especially with a female character. Usually I'll only defined the bottom of her nose. I certainly won't define the bridge or anything like that. However, on a male nose, that is something you certainly can do, or on more of a creature, the type character where you want to kind of emphasize those details like the cheekbones and whatnot. Certainly. Sometimes what you might do is add in a little indication of the nose bridge here. Then. Describe the nose around the top. The shape that you would be dealing with as it transitions into the underside of the brow. Because at the top of the nose, really what's happening is that the noise is merging into the underside of the brow. And that's as, that's as complicated as I make it when it comes to drawing the nose from the front. Now of course, this is assuming that the light source is shining down onto the noise from the left. If it was shining down onto the nose in the opposite direction, then I would simply go ahead and instead define the other side of the nose bulb with a darker line with a single contour. And you can really practice this shape as many times as you want. As I said, it's really just the base of the nose that we're dealing with there. So go ahead and practice this over and over again, repeatedly until you get it right. And it's, hopefully it's not going to be hard for you to memorize. It might be a little difficult to capture the shape you're after. Again, you can swap the area of the noise that you're defining over depending on the direction of the light source. Again, what we're really describing here. If we draw in our underlying anatomy, is the nose bulb with these random lines. We've got the nostrils on either side and this this piece of cartilage just below it. Okay. So that's the front of the nose. 4. Nose Side View: When it comes to drawing the side of the nose. Well, that's also pretty easy as well. I mean, from the side you could almost simplify it down into a triangle like this. It's probably a little bit too simple. Obviously, we're going to be adding more shape to it, but this is how I would go about it. Now, the other thing that I should mention is that the shape of the nose of a man is significantly different to the shape of the nose of a woman. So we'll start off with a male nose first on what would be a classic idealized male knows, it's going to be fairly straight along the bridge. Then what's going to happen is it's going to shut out a bit at the end, and this is where the nose ball begins. Then what will happen? So lead down into the base of the nose, then back into the mouth. Right now, I'm drawing this at a large scale, so take me possibly a little bit of tweaking to get it exactly right. Let me start that again. Okay, to take my previous advice and just keep it looser. Start out with, there we go, that's much better. So I'll go over the top of that. Defining the nose bridge once again. Again, when I loosen up, it's, it makes such a difference. The finished outcome of my drawing. So it's something I'd highly recommend for you as well. Okay, Great. So that's the basic shapes that I go with for the side representation of the nose. And then as far as the nostrils are concern, I don't draw them all the way back here. I draw them fairly close to the front of the nose. In fact, they actually come back to sit inside the face. And they look a little bit like this. Again, it's really just three lines that I've used there in order to create the nostril opening. So I think that you're gonna get this as soon as you try it out. Then we might add a little bit of an indentation here where the nostril cartilage meets the bulb cartilage. Let's kinda their meeting place right around this area. Then. See that that is a finished and nose, right? Sure. Absent of any heavy shadows are rendering, but really it wouldn't want to put any heavy shadows or rendering there anyway. Now let's talk about the differences between a male nose and a female now is, and what they're going to consist of most of these differences, by the way, you're going to see in the side view, typically a more feminine or female nose or even a younger looking nose. That's less, less mature wood is going to have more of a curve to it. That's the main difference. It's going to have more of a curve to it. And it's also going to be sitting up a little higher. Okay. So something more like this, I would say go over the top of that. You'll notice that it's simply not as straight along the nose bridge. It's much curvier. And it just, it produces a little bit more of a acute look for your character. You could say. It's less chiseled, it's softer and appearance. And overall or less intimidating knows. Okay, once we've got the basic shape established, what we can then do next is lay in the nostril, and that's pretty much going to be the exact same approach that we took previously with the male nose. Bringing it back to sit inside the face. If you get a nice curve and hooking it up back up at the sides. You can add in a little bit of an indentation where the cartilage of the nostril meets the cartilage of the bulb of the nose, the tip of the nose in that top corner. And then that's it. So that's the front of the nose. Well, actually let's do an example of how I would draw out the female nose from the front here just for a moment. So we'll get rid of this one. And we'll make some space here. Again for a female nose as represented from the front, I simply do something along these lines. For some reason I always place the bulb shadow on the right side of the nose. I start out with that. I'll draw in the nostril on either side. Then. Yeah. That's that's really all. I do not have a lot more than that. Again, I might add in my little indentation up the top here, where the two bids have cartilage at the tip of the nose meat. But other than that, this whole section where the nose bridge resides, I leave bare until I get to the brow region where I might add it a little bit of rendering. Okay, so that's really the key differences. Probably this area here is when I include that, it turns it into more of a masculine looking nose. 5. Nose Shapes: Let me talk about the different shapes of the nose that you can get because you can certainly get a lot of them, especially when you're looking at the nose from the side. Now, we'll be getting into this in a later lesson where we talk about adding variation to your faces. But just while we're on the side view of the nose here, you can get pointy noses that look a little bit more like this. You can practice those. Okay, So I want to show you that you can really push and pull this shape in whatever direction you like. You can get noses that Hope down really low. That'll work just fine. You could get pencil noses. Alright. So experiment and mess around with these different nodes shapes. From the front. It'll be the exact same deal. Whole bunch of different nodes. Variety is happening if you want. You want to have some fun with it. And I suggest Certainly you always have fun with your drawing. Make some room here for some front nose variations. You could have a Gavin, nice to find a pointy nose. And really, as far as nose variation goes, usually that's going to work. Turns as the statics probably better on a male character for some reason, you can really characterize a the face of your male characters and have them still look, look like male characters. You can actually have very unattractive, undesirable looking male characters and somehow get away with it. When it comes to the ladies though, for some reason or another, like if you were to add this nose here to a female character, it just would not sit as well. For some reason, at least in the classical sense. And again, you might have a very pointy nose. You can certainly characterize a female face. Certainly. I've done it. I've actually done it throughout this workshop, in the later lessons. And it can work quite well, but it does add a very cartoony appearance to them. Okay, so, yeah, mess around with it. Have some fun and experiment a little. 6. Nose Three Quarter View: Alright, next up, let's talk about the three-quarter view of the nose. So this can be a little more difficult, but not that much more difficult because it's very similar to drawing the front of the nose. So we can we'll start out with the top of the nose this time around where the brow would be. And then we'll draw out the bridges or nose. It get down to where the bulb would be, which would be about here. I think. We can drop it and curl it around back into the face. Now this almost looks like a side view representation of the node is at this point, right? But it's not. It's actually a mix between the front view and the side view. And I guess it makes sense. So you would get the three-quarter view when you combine those two together. So we'll draw in the nostril opening here. And then sometimes you'll see the opposite nostril just peeking out from behind the tip of the nose is too big here. But the tip of the nose is actually obscuring. Much of that nostril on the opposite side of the face. Because remember, not only is the front of the nose protruding out from the face, but the opposite nostril is actually going back into the face. So they're just getting further away from one another. Which is why you see such an obscured representation of that opposite side nostril. And probably I'm showing too much of it there so we can get rid of some of it. You only want to see a little hint of that opposite nostril. Once we've done that and we can go ahead and place a little indentation at the top of our nose. And other than that, there's not really a whole lot more to it. You can of course, darken up the bottom of the nostril opening a bit. And you'll notice that the bulb of the nose is actually hooking up underneath the nostril starting to. But that's a three-quarter view. All the nerves, again, actually not that different to the previous views that we went over. Now let's talk about how female nodes would look in the same position. And again, you're not going to see that much variation with the eyes when it comes to drawing them on both men and women, except for the whole eyelash thing. But when it comes to noses, you start to really see some anatomical differences when you're talking about the idealized representations. This stylized representations of them on top of that. Comic books are very stylized. So stuffs are worth mentioning in terms of capturing the look that you might be after. So we'll start at the top of the brow once again, except this time around rather than using a hard outline for the bridge of the nose, we're actually going to break it up at a very thin, will draw it a very light line that curves up at the bottom and back in around the nose. But what I'm trying to do here is make sure that that nose bridge nice and curved. And we want it to look soft and we also want it to have a little bit of energy to that curve. Two scoops up at the end. Now I'm going to erase the middle of it. And the portions of the nose that I really wanted to find here are up at the top and then around the base. And even if I join the bottom to the top of the nose, I want to keep the joining outline very, very thin. So it's extremely subtle while making it thicker at the base. And the reason for that is, again, it just has a list chiseled look. All right, It gives a certain amount of softness to the face when we break up the outline like that. But just as before, we're going to draw in the nostril. Okay, so we're still adding in the same stuff, just representing it a little bit differently. We might actually go ahead and just lift up the nostril. But it's sitting slightly higher their intestines. So there's our three-quarter view of the female nose. Well, the more feminine looking nose, if you prefer. Again, you could easily add either of these noses to either a man or a woman and it would produce different effects of course, but certainly not against the rules. 7. Nose Top Down Views: Here we won't be doing too many variations of the nose. I just want to show you how you would turn the basic form and presented in space. So let's jump straight into it, starting with the top-down view. Now, this is when I actually start to use that block formation that I was showing you before. And I will actually start out by sketching it usually just so that I can get the structure down to begin with because it's it's kinda hard to wing. So go ahead and start with the front view of the top-down representation of the nose. We'll start with the base. And remember I'm using the, the very, very standard block form that I've come up with. All right, so I've got that established. Just keep in mind the proportions of the nose when you're drawing it on its own. Usually you can judge. Usually you'll get it sized up pretty well when you've got the rest of the face to consider because we know what its proportions are on the face. But when you're drawing it on its own, it can be very easy to draw it either too long or too short. So just keep that in mind. I certainly have it guilty of that before. Okay. So once I've got the front of the nose bridge drawn from this view, what I'll tell you is that you can't see the bottom plane of the nose. It's actually completely obscured. And so what you end up being able to see is this the front of the nose and the sidewalls of the nose and then the tops of the nostrils, but you can't see underneath it. Again, a very lightly sketched in that basic box. In fact, to be honest with you, that's probably mess me up more than anything. So let me see if I can freehand this one. See certain views I need the noise box for. Other view is I've got a bit of a shorthand technique for it. So I'll start with the base of the nose here. Draw out the nostrils on either side. And honestly that's that'll probably do it. I might bring up those bulbs somewhat. This to indicate that, uh, putting my little indentation where the nostril cartilage will meet the front of the nose. Okay, Cool. So that was a really good example of how the underlying construction can actually mess and confine your, your approach to drawing certain facial features. And it's great for when you've got nothing else to work with. It's a great way to think about it. And I will be using it in a moment when I jump onto the more difficult views. But right there just, it really messed me up. So the same thing can be said about the overall structure, the underlying structure of the human head. When you're using the Loomis method, I find that it can be very confining sometimes. And if I stick to it too rigidly, I just don't get what are these I'm after I can't capture, right? So the other thing that we can add in here is of course, a little bit of an indication of the nose bridge. And then at the top of the nose, we can add in the brow joins onto the nose. But that's an example of the top-down representation of the node is presented from the front. Can actually move this up a little higher. There we go. Cool. So next, let's do a three-quarter view of the nose presented from this angle. Once again, I'm not I'm not really going to use the block formation here either. I think that probably it comes in most handy when I'm drawing the nose from below, if I'm being quite honest with you. The top-down three-quarter view is actually quite similar to the three-quarter standard view. So let's take a look at it. Basically, what I'm going to be doing here is drawing it all the way down the tip of the nose. This is before where we're running along the bridge and I'm keeping it loose as well. And this time I'm just going to take it up, take the nostril up a little higher. I'm going to give it more of an angle. So it's actually not all that different. But if you think about the initial block formation that we were dealing with and I'll actually go over the top of this nose, drawing with it in just a moment. The reason that I'm drawing the nose look this way, this particular way is because of that basic understanding of the form that it consist of. All right, so what will end up happening In fact is that the front of the nose will sit lower. Okay, So essentially we will be seeing the top of the bulb more so than the bottom of it. So we'll get this sort of shape happening. And we wouldn't be able to see any of the nostril on the opposite side of the nose here will indicate again that little dip the top of the nose. But other than that, this is how I would draw the three-quarter view of the nose when we're looking at it from above. And of course, this angle can be pushed further and further. So you know, if you're really looking down at the nose, it might look more like this. And you can really just, you can push everything to the extreme, especially these angles. Let me go ahead and do that properly. So you're really looking down on the nose. Might be how it appears. Okay. Alright, next up, what I wanna do is just really quickly draw out the block formation here so you can see what I'm thinking about as I draw it. I'm just not actually drawing it. I'll move this over a bit. I'm thinking about the nose bridge, of course. The sides of the nose are actually coming back like that, right? And that's, that's even simpler really than the initial model that I came up with. But on a fundamental level, that's essentially what's happening is we're taking that block form and we're just turning it in space. If you understand that, it'll give you a little bit more room to move when it comes to drawing the nose. 8. Nose Bottom Up Views: So now we've got our top-down views of the nose sorted. Let's take a look at the bottom-up fuse. And this is where I'm going to use my block structure for the nose because otherwise I just run into too many problems. I can't win this one guys. So I usually start out with the base. Okay, so let's say that we're drawing the bottom-up representation of the nose from the front. I'll start out with the bottom plane. And this is like the skeleton of the drawing really that I'm placing down here. And then I'll go ahead and I'll draw in the nose bridge, taking it up into the brow area. And then I've got the nose walls which I also sketching as well. Make that a little bit bigger. Now the other thing that I'm going to do is I'm going to make a middle division of cartilage here that runs straight down the middle of the bottom plane. Then I'm going to roughly sketch out the nostril openings based on that. Okay, So we're getting, we're getting a good look right up into this, this character's nose right now. Once I've got that basic sketch placed down on the page, I have an understanding of the three-dimensional qualities, all the nodes at this point. And with my knowledge of its anatomy over here, which we went over before, I can start to go in and describe things like the nose bulb, for example. Indicating that. That says I'm doing right here. I'm going to go ahead and draw in a hard outline. This cartilage that runs along the base of the nose. Then what I'll do is I'll start to sketch out the opening of the nose. Because we can see up until those nostrils again, not a very flattering view of the nose. We're able to see that the shadows that collect inside them. And that shadow is going to look like, um, let's, let's just fill it in there. It's going to look like a comma. The number six. That's easier for you to remember. And we'll do the same thing on the opposite side of the nose. My palette, our eraser just to tweak that shape ever so slightly. And in fact, I'll erase some of these construction lines here that we no longer need. And then I'll draw in the rest of the details. There is a few points of articulation that we need to represent here as far as defining the noise and it's anatomy. We might even render in the rest of that nose opening here. Just to darken it up further. I'll add in a little crease at the back of the nostril. And I'll define the nose plane separation between the tops of the nostrils and the underside of the nose. This angle is actually quite difficult to get right. So even though the other point of view of the nose are a fairly easy, this one maybe not so much. So I feel like my nostrils aren't quite looking the way I want them to look. So I'm just going to erase them here and redraw them back in. There. We're just looking a little bit too wide. Okay. That's looking a bit better. I'll erase that portion. You know, sometimes I can draw noses really well from this angle and then their release days where I just have no idea what the heck I'm doing. That just goes to show you that even though you've got a process under your belt, you can still run into some problems. And I think that little challenges that always keep you on your toes as an artist are. It's a good thing we have them because otherwise, we would just get bored. I know I certainly would. Every time I think I've made it with my art, I all of a sudden lose a lot of motivation and I start to procrastinate big time. So be careful of that. It's easy to run into. Alright, so I'm still sculpting out this nose bit by bit, trying to get it to look the way that I want it to look. Now if you're unfamiliar with how the nose looks with a stylistically or realistically, it doesn't hurt to actually get some reference material and practice it a few times just to become familiar with it. Every artist is going to have their own interpretation of course. So it's good to learn from other artists and how they represent noses, faces, and really the rest of the world. But it's also good to come up with your own based on actual real-life reference material, you can take photos of your own nose from different angles. You can do a simple Google search and find a bunch of references online if you'd like as well. You've got references at your fingertips. The wonderful age of the Internet. But certainly do a few studies from life and just help you out, of course, represented in your own style. And try to develop a technique for drawing it in much the same way. I have. Now we can't really see the top of the nostrils in this viewpoint because we're actually, we've set the camera down quiet low here. And in fact, at this vantage point than the nose bridge, would it be even more foreshortened? This area would ultimately connect onto the mouth. And in some cases, we would actually start to see the top of the lips here, depending on just how far up the head is looking. Contrast. So our view. Okay, So that's all right, front view of the bottom-up representation of the nose. Let's go ahead now and turn it on its side to look at a three-quarter view of the nose. Right? So I'm going to go ahead here now. I'll start with the nose bridge. But then I'm going to draw out that bottom underside noise plane just to start with. And I'm going to keep it loose for this one. What I'm doing here as I lay in the bottom underside noise plane. As I'm really trying to describe the 3D representational the nose accurately. And So I'm looking at the angle of this underside nose plane in comparison to the nose bridge. And I want to make sure that both of them is correct as I can get them. I feel like I'm seeing a little bit too much of the underside of the nose here. So I'm just going to arrow out its height. And this is why I use this basic box model to begin with, because sometimes it can be tough to get the look that you're after. I didn't have this structure and I was just winging it. I don't know. I think it would take me a really long time to get it looking the way I want it to look. Alright, so once I've got that sketched in, I'm going to go ahead and draw in the nostrils. And heck, I might even sketch in mind little nose bulb here as well. To help me capture the correct shape at the end of the nose that CS the bottom-up representation of the nose is a tough one. There's actually a lot more going on. You can see more of the nose. The nose is complex anatomy. You're dealing with nostril openings as you're dealing with the outside walls of the nostrils as well. And all from a viewpoint that is relatively unfamiliar to most of us. Here what I'm describing is the base of the nose cushioning a little bit at the end, made of cartilage. And so understanding your nose anatomy, it can really help you out. In these instances, especially when you run into trouble. And that cartilage actually curves inward underneath the nose. Example drawn a nose opening like so. And we'll fill it in. There we go. And we can do the same thing on the opposite side, we may be able to see the opening far side of the nose from this vantage point. I'm going to bring out the tip of the nose some more here. Just tweak the shape of it. Burleigh. Then bring it up into the nose bridge. Okay. So there's a little bit of sculpting going on and a lot of tweaking. This is how I would actually work. In fact, on a daily basis. I make a lot of mistakes along the way. A very, very small mistakes that are quickly tweaked and fixed. And I think what I'm showing you here is probably an ability in and of itself because it took me a long time to be able to spot out where I was going to wrong and what I needed to fix, how I needed to fix it. And so getting to the point where you're able to just fix things on the fly and pick them up in the first place. It's a good skill to develop. And I think that it's really based on observational skills and putting yourself under scrutiny. A lot of the time. Looking at your work with an honest i and in seeking out the areas for improvement, it's not always an easy thing to do because we really want to do the best work that we've ever done. And so criticizing ourselves, that can be tough. But then again, at the same time, there's a lot of artists out there who are their own worst critics and they go in the opposite direction there too self-critical. So you want a nice balance. I think as an artist, you want to be helpful and constructive criticism that you give yourself. But you certainly don't want to parallelize your progress in any way. Okay, cool. So what I'm going to do now is just once again, try to indicate that cartilage has a scoops in underneath the nose. I'm going to erase away some of the nostril opening in the middle there because they were sitting a little too close together, will make a small division here. Just to indicate the plane change from the sides of the nose to the bottom of the nose. And I think that'll just about do it. This is one view of the noise that I could keep on tweaking and messing around with all day. That's for sure. We may even be able to do up another example for of it just to get some practice in here. Because I think it is an important one to draw multiple times and to get right. So we'll do another quick one. Sometimes I need a little bit of a test run just to just to get a feel for it. And you'll notice that sometimes you're more comfortable at drawing the nose from one angle but not the other. So it can be good to just swap it around from time to time. Alright, let's see how we go here. So very loosely sketched out my underlying drawing. Going to go through and start to outline the nose bridge the tip of the nose. Also go ahead and place in some shadows for the nostrils. Then we'll outline the nose, giving it a darker outline, really defining that contour. To emphasize its shape. And around the sides of the nose will bring up the back of the nostril. We'll get around to the base. Then of course, define that plane separation between the top of the nose and the bottom. And we'll leave it at that. So that is our various knows examples presenting the nose and the standard point of view, the front side and a three-quarter angle. We've got some examples of the nose looking at it from above and from below. So we've pretty much covered all the bases here. 9. Assignment: Hey, thanks for watching. I hope that you enjoyed this class and that you got a ton of value out of it. But now it's time to take what you've learned and put it into action with the assignment. First up, I want you to open your favorite drawing application or just a good old fashioned sketch book if you'd like to work traditionally. The first exercise is going to involve you drawing up a series of examples showing the basic block formation of the nose from a range of different angles. And I want you to do this enough times that you become completely comfortable drawing this fundamental nose shape from almost any perspective that you can think of. Part two of this exercise is to either place a piece of tracing paper over the top of that basic nose foundation that you've done up a range of examples for. Or if you're working digitally, create a new layer in your application. I want you to draw straight over the top of these block formation noses laying in the anatomy of the nose and then the final outlines. So you'll be placing in the bulb of the nose, the nostrils of the nose and redefining the bridge of the nose to give it a little bit more shape. If indeed you want to introduce additional character to your noses. And by the end, what you should have is an entire range of finished noises that you have drawn up from a multitude of different angles. See how you do with that. Good luck. And once you've completed the assignment, be sure to submit it for feedback. All right, until next time, keep drawing.