How to draw heads from imagination

1. Introduction to drawing the head: Hi, my name is Dion Hamill. I'm an illustrator. Offer argument straighter, maker. In this class, I'm going to show you how you can create amazing looking heads from your imagination that will help you bring interesting looking characters to your projects. I'm often tasked with the job to create characters for projects and have no reference in real life, whether it be for concept art, book covers or comics. I worked out that using this method allow me a quick template that I could apply to really any face. And with a few adjustments, I could easily create a realistic portrait from our imagination. And if you've been struggling with your head drawing or even portraiture, I want to share this method with you because I believe truly benefit your artistic skill. From this class, you'll be learning simplified construction of the head that can be used as a template for any design. My drawing important landmarks of the phase. Differences in male and female head proportions, shading techniques to create dynamic looking kids. And in the final class project, you'll be making your own character head using the techniques that you've learned and can be used time and time again for your next character illustration. This class would see anyone interested in illustration, portraiture, character design, concept art, and comic book art. This class can be done with traditional drawing supplies, but you can use drawing software on a computer or tablet and create the same effects. Okay, So I'm really excited for you to join me in this class. And I'm really looking forward to seeing what your imagination can produce. Let's get started. 2. Lesson 1 - Drawing the basic shape: Okay, let's begin with lesson one. I'm using an H pencil and first fallen going to draw a square shape. So I can begin the template for this head. Let's draw a square shape. It doesn't have to be a perfect square. You could use a ruler for this if that would be easier. And I'm just going to freehand draw a square. And again, you get better at this than we practice it as well. Now I'm going to divide my square into top and bottom and two sides straight down the middle to find the middle of the square. The easiest method is to find the corner points opposite top and bottom and draw a diagonal line through those. And that's gonna give me the center. It's roughly the center. Draw a vertical line straight through the middle, and a horizontal line straight through the middle. Now, I've got four quadrants. Within those four quadrants, I'm going to do a curved line, getting some perfect circle, but it's pretty close. Now this plot represents the top of the cranium. To get the top of the head coming down to the science here. What we need now is the area of the face. So the bottom half of the face is going to be about another quarter length of the total square. So to find the quarter length, I could find the center is box shape here by drawing a diagonal line straight through there, giving me sent a halfway point. Now if I draw another line straight through there and continue it until it reach this line, that's going to give me an equal distance from here to here. That is here and here to draw a line straight across. Continue. My center line for this part represents bottom of the chin. And this is the very top of the head. This line represent the brown line ahead. And find the nodes. Generally, generally the noise will be halfway between the brown and the chin area. So to find that halfway point, I'm going to take a mine from this box here. And the top corner, the bottom corner, straight through about midway, cutting us the base of the nodes. And I don't need to draw this line all the way across. But if it helps, you can draw it all the way across. And I'll just put a note saying the nose. And this line has intersected. As you see these corners here. That's very useful because this is going to be the side of the head and the sign of the head. The distance from the center to the side of the hand is generally the same as from the center of the brow line to the base of the nose. So he can draw a line straight up. You could eyeball this distance here. Well, you can see where this line crosses through a circle and draw a line that connects the two points. I'm going to take the line all the way down the sides of the head. Now, this also gives us an equal distance from here to here from the base of the nose to the top of the brown. The equal distance from here to this point, which will be the ham on. And that breaks our face down into three equal parts. Generally, a rule of thumb is that the face proportions with a little bit extra for the top of the cranium. Not everyone's faces. Boss. That's a general template to work from. The forehead, equals the space between the brown and noise equals the space between the bottom of the nose to the signs of our head. I'm not going to go all the way down. We have the corner of the jaw that will then transfer down to the chin space. I'm going to make the corner of the jaw halfway between the base of the nose and the chin. Again, to find that space, I can take a line from this corner to this corner. Confident enough to eyeball. You could hold this Monaco Mike. So don't take my line straight across. Try and keep it as straight as possible. This is about corner the jaw line from the side of my head would come down here to the corner of the jaw. This jaw line, I'm going to make it 45 degrees. Now it could be a much harder angle creating a much smaller joule. What scenario? Could be wider. But I'm going to make it 45 degrees in this point. And we'll say it's about 45 degrees on the other side. This is the overall outside of the head was created. Now we need one more feature and that will be the island. The island will generally sit halfway between the top of the head and the chin. To find that space, I can take a line from this point to this point. For me, corners of my rectangular shape here, straight through. And where that line intersects with the horizontal line. I have found the middle of the head. And then I can draw a line straight across. And that will be stuck in these lines. So we can see the brown, oh, nice chain. And then we have the beginning of alphas template. And less than 2, we'll begin to look at where the features are placed within this space. So we'll see you then. 3. Lesson 2 - Placement of the features: Hi, Welcome to the second lesson. In this lesson we're going to be positioning the features of the face. First, we'll be looking at the eyes, the nose, and the mouth. This will not be detailed features. We're just looking at the positions of these features to use later as indicators for FH is when we're adding the details. So first, let's work out where the eyes will go. 4. Placement of the eyes: So the eyes on this story, I'm going to have them sit on the eye line, which we've already created in the first lesson. This eyeline will dissect the eye socket. Right through the middle. The eyes will generally said, halfway between the center line and the side of the head. And to find that spot, I can divide this space here into and then divide each side into again. This gives me two points here, which will show me where the edge of that the eye socket will sit. Now I'm going to draw a circle. Then that space to represent the eye socket. And I'll do the same again. On this side. Again, it doesn't have to be perfect at this stage. These are just markers to use as references guides for later when I begin to add the details. Now more often than not, the space between the eyes will be equivalent to the eye width. So that space there equals the distance from one side of the eye socket to the other. Now within the eye, I'm just going to draw a circle that's going to represent the pupil to sign in to an idea of the features. I'm going to make it three circles wine. So if I was to have another circle there and then I can fit three circles within it. But I'm going to put it in the center for now. These are going to help us later. It's important to add things in. 5. Placement of the ears: The next feature we're going to add the ears. The ears will generally sit in between the brow line and the base of the nodes. Within that space. I've already got a triangular space here that I can use to fit the placement of the ear. Now I'm just going to curve a line. So I won't make any rectangular or square lines or two spec a curved line to indicate the year like so. Starting maybe midway between the eye line and the brown, going outwards towards the edge Kermit back down until it reaches beyond that, the line that indicates the nose. And then I'll repeat the same step on the other side. These can be adjusted any point during this process. So at this point they don't have to be perfect. They just hear as indicators to help us know where we're going to place the features. So these will be the ears, and now I've got the eyes. Let's move on next to doing the nose. 6. Placement of the nose: So to add in the nose, I'm going to drop a line from the inside of each eye socket, straight down towards the line that represents the base of the nose. This is the outermost parts of the nodes. We're not adding any details at this point. Just basic structures that will help indicate where the details will go later. 7. Placement of the mouth: For the final part of this process, we'll be putting in the mouth. And we've already got a line indicating where the jaw meets the side of the head and transfers down to the chin. That same line can be used as the top of the chin and is a good indication of where the bottom lip is represented. It's not always the case in every mouth. It could be higher, it could be lower. It could depend on how fat the Olympians or how thin the lipids. At this point. We'll use it as a guide, as a reference and say that the bottom of the bottom lip. To find the top of the top lip, I'm going to find the corner where the side of my head meets the island. I'm going to draw a line straight down. It's going to intersect with the side of the nose and meet the center line. I'm gonna do the same thing on the other side. Creating this triangular shape. This will be useful later on, so it's important to put it in. It'll give us this intersecting point, which is the top of the top lip. Directly in the middle, will be the mouth. So I'll draw a line that goes across. Generally in a male mouth, be width is wider than a female. Well, so at this point, I'm going to make it reach about here to where it meets the inside of the pupil. Again, this is just a basic template, almost a standard type of phase. So this line could be wider or shorter in both male and females. But for now, we're going to make it reach this point here. Giving us an indication of where the mouth is. And as you can see, it's already starting to look like a face. But we're not there yet. 8. Lesson 3 - Defining the facial features: And listen to it. We saw how we could put in the structures as templates for our features. In lesson 3. We're going to be adding in the details for the brow, the eyes, the nose and the ears. These won't be extremely detailed, but there'll be more detailed than what we're up to this point. And so we'll be getting closer to a more realistic flight phase before we start add shadows and lighting. So this is a really fun part. I really enjoyed this part because it's when you can really start to see realistic face or interpretation of a face coming through that you've created totally from scratch. Okay, let's get started. 9. Defining the Brow line: Let's begin by defining the features. Will be defining the brow line and the eyes. My first step is to find a midpoint between the eye socket and the side of the head. It's quite easy to find only a narrow gap. So I'm going to eyeball this and put in a line here. I've already got a line that goes straight up from the edge of the eye towards the brown line. I'm going to connect those two lines together with a straight line here. Why am I using straight lines? Because they are far easier to draw them curved lines as you can. It's difficult to get an accurate curb line. So if I'm using curved lines on either side, they may not be the same, but it's far easier to just draw a straight line that intersects with another existing line to get my placements correct. The next step is to find the internal part of this brow here where it meets the rigid top ridge of the nodes. I've already got a line that goes up from the inside of the eye socket and makes the brow. And now I want a line to come down towards the middle. There'll be a middle section here. Specific width. How do we find that? When the easiest way I find is to draw a line from the base of the center of the base of the nose toward, towards each edge of the chin. So each side of the chin like so. Just a straight line. And where I've got my top lip. Let's try and get that be more accurate. Where I've got my top lip. Draw a line straight across. These two points here will represent the side of the nose. And you can draw them straight up, like so until they intersect with the middle. Now, I can draw two lines that represent the top ridge of the nodes. Okay, so we're gonna eyebrow line is there. Next? You can put in the knowns. 10. Defining the eyes: Next, let's put it in the ice, the actual eyes. So I know this is the outside edge of the eye and the inside edge. Outside, inside, and this is my eye pupil. Most ions are curved. Some people have wider eyes, shorter eyes, eyes and slope in different directions. Eyes that are very narrow, that are not spaced as far apart or are spaced further apart. But in this case, we're going to just make them just an oval shape, pretty narrow, oval shaped like so. Just as an indicator of where the eyelids will sit around the actual eyeball. And I'm going to draw another little simple line just above. Just for that skinfold, above the top eyelid. And inside. Got that position just there. You don't have to add that in right now. I always just like to add it in just as a nice little feature just so I can get the idea that yes, these are the eyes. 11. Defining the Nose: Next part, the nose. Noses can often be a bit tricky for people to draw eyes to struggle with it greatly. But I found a simple technique that I think will be really beneficial to your drawing as well, especially from this front view angle. So I've already determined with the signs of the nodes are. Now I wanted to determine when the underside of the noisy, some noses point up more than others. Predominantly in a female face the noise, the nose will point upwards more slightly and not project out as far. In this case, I'm just gonna do a standard noise where the noise is just up with slightly so you can see the nostrils. To begin with, I'm going to draw a slice of semicircle starting from the base line connecting each side like so. Then starting from the top of that art, I'm going to draw a circle that was touched the both sides of the bridge of the nose. Now on either side, I'm going to put two semi-circles. They're going to go about halfway up the side of the center circle. And they're going to portray the nostrils. So this is the tip of the nose and these are the knots nostrils. And this is not a completed version of the bones. This is just an indication of where the predominant or dominant features are going to go. All right, the next step with the mouth. 12. Defining the Mouth: For the mouth, I've already got the top of the top lip and I've got the bottom of the bottom lip and a center line to indicate where the actual mouth opening is. For the signs of the top lip. I'm going to draw a nice little curved line. Or it could go straight to that point and then dip down in the middle. No mouth tends to have a straight line across this part here. You could do that for your character if you wanted to, but it looks much nicer. Just have a little dip in the middle. And lets people know that this is the mouth and do the same on the other side. Now for the bottom lip, we've got our two lines coming out from the base of the nose, passing through the mouth towards the chin where the bottom lip or the line indicating the bottom lip passes through that line. That's the edge of the most bottom part of the lip. And then that's going to curve back up sharply towards the sides. And then we haven't, we've got a basic structure for the mouth. 13. Defining the Ears: The next feature we're going to start adding some details to the ears. Now again, we're not meant adding in full details, just indicators of where basic structures are. So in this part we've already got shape of the ear. Now we're going to add some form to it by placing a line that will indicate the outer edge of the ear. I like it to just appear where your eyeline meets the side of the head. Almost parallel to the outer line, will curve outwards. Just a little bit more on the edge. I'm not going to add a lot of detail to the ER because I don't want it to detract from the rest of the features of the face. Next, I'm going to put a small market indicate just the middle point. I'm going to find the midpoint between the top of the e in the base just remains the side of the head. Now that midpoint, I'll just put a little circle on either side. And then within the ear itself, just a couple of, a couple of little indication lines. Just to show us there are those folds within the year. As I said before, I'm not adding in a lot of details. Just basic structures, so I know where things will be positioned later. 14. Lesson 4 - Form and shadows: Hi, welcome to lesson 4. Now we're onto a really fun part of the class. We're adding shadows and contours to create the final form of our character design. And I really enjoyed this part because you can start to see the life of the character really come through. Again, it points within this, you can still change the form because we're using a very light pencil stroke. With a to H pencil, we can add and remove things as needed. And the sketches a very quick and loose, so we're not beholden to any particular line at this point. So follow along with me. And let's finish off our character face and see how it looks. 15. Form and shadows - Face shape : Okay, I'm going to start with a face shape. At this 0.3 square, very blocky. This almost looks like a robot, not a human face. So for a start, I'm going to begin with the cranium. Generally, if this was a male face, will be much broader cranium, not always but square and broader. A female cranium tends to be much narrower and rounder. So let's just do a generic male sort of structure at this point and then we'll do a female one to this. So I'm going to round off the sides, curving the head back down towards the top of the ears. With this point meets the edge of that triangle. I'm going to start to taper in that line. Too narrow. We just slide angular features. It doesn't have to be, it could just be straight down. Some people do have very, very straight sides of the head. But I want this to be a bit more realistic. So I'm going to just angle it down slightly until I reach this line here where the jaw line meets the side. Then I'm going to curve my line at another angle back towards the chin. We'll give it a slight curve. Again. The jaw line isn't just a straight, very straight line, slightly curved. I'm just going to use my eraser. Just to thin out these lines. Be easier for you to see. Jetsons. 16. Form and shadows - Eyes : Now that I've put it in overall shape of the face that I'm happy with. The next step I'm going to put in the eyes. I like to put in the eyes next because they're really something which embodies the full sense of the character. So the eyes are a really important feature. May not always be the case for a character, but I feel that the eyes really set off the character well, one to get the eyes right, then the rest of the character will start to flow. So I'm looking at the left eye first because I'm right-handed. I'm going to start with the left side first. That's the right eye of this face. So on the left side and then I can copy it by working over here. That way I'm not I don't have my hand in the way. It's far easier for me to work that way. So always start on the left side. So first, we'll begin with the top lid. Now. Just narrow during this area back down here on the pupil. Small iris. Make it a bit more realistic. And where the outer edge, It's the corner of the eye socket. I'm going to turn it up slightly and then drive it back up towards the brown. Using this template here, I'm going to curve it back in towards the very narrow line, starting curving it back around, following the top brow in towards the center of the nose and the eye socket, just under the skin. And I can start to lighten some of these features. I'm liking the way. It's going to lightly add in a shadow there. Now I'm going to do the same on this side, following the same line. They're on this side going up the same direction. On the other side. The eye socket, top eyelid plus the small skinfold at the top eyelid skinfold. Define the pupil. Is my ours. Bring the sign bit more tapered in a bit more. Enlightening some of these features in here. Let's add a little shadow just underneath the brown shadow. On the bottom lid. The pupil where it won't be visible anymore, it'll just be behind the eyelid. And the center line. We can get rid of that. Okay, already Eisenstein to look a little bit more defined. 17. Form and shadows - Nose: Let's move on to the nodes. We've already defined the nostrils and the tip of the nose. Now we're going to work on the internal features. So the nostril holes underneath here. And to find that no nostril doesn't have this small septum here. As far as I know, I've never seen one. And then we can make a small circle with fans out, meets the edge of this semicircle here. And then comes back in. Small circle. Fans out on the other side, comes back in. Now we're going to start to remove some of the lines that we don't need, giving you a bit more realism to anodes. So we've already created the basic shape. We can start adding. Shadow would be much darker in the nostrils. And a little drop shadow for the underside. The ancient denies. We can. Finally, it could be very straight or it could even be broader. Going to make this very straight nose. Just remove some of these construction lines. So we can see what we're doing. Shadow, just to create a form. Lines. The lines more unrealistic, I find the noise looks. So I'm going to keep my lines very, very soft. And the edge of the nose here, It's going to create a shadow here. Just when the skin begins to fold outwards. The top of the cheek. These construction lines, 00, 00, 00, 00, 00, 00, 00, 00. Can say fictive. This technique is helping the placement of the features, especially the noise. 18. Form and shadows - Mouth: In the next part, we will be working on the mouth. At the moment, we've got very, very basic lines for the mouth. But the mouth is a little bit more curved and then a little bit softer. And generally there's not a lot of hard edges, more lines to represent the mouth. It's mostly represented by shadows. So where we've got outlines, the top lip will be going inwards, so that will be in shadow. So I'll just darken that area. And the edges meet, I'm going to round those are slightly creating a more sense of realism. With the top lip begins to go into the mouth is a lot darker to where it meets the mouth and going to dark in that line just ever so slightly. Just lightly going over the bottom lip underneath the bottom loop is probably the most dark as part where it's sitting just above the chin. It's all dark in that line a bit more and also dark and slightly at the base of the liver as it curves up towards the edges of document again. And dark on the other side. 0, 0, 0, 0, 0 inches. Darkening. The edges. Can begin to see. That creates a bit of a sense of realism in the face and the lips, nose and mouth. 19. Forms and shadows - Ears: Next I'm going to be looking at the ears. I don't want to add too much detail into the ears because I don't want it to detract from the rest of the features of the face. But what I can do is add more shading, shading to give a representation of contours within the years as it's a cone shape. And as you go into that contract, it's going to create more shadow in the center. So around this area here, I can start to shade outwards. And at the base I'd like to show the base just meets the side of the head. Covid in slightly going on the other side and at the base. Now this small line here is the skinfold. So as it moves outwards, I'm just ever so slightly on either side. And the top skin far, it's casting a shadow downwards on the inside of the year. All right. 20. Form and shadows - Temples, cheeks and chin: All right. I'm just going to start fleshing in the bone structure around the temples and the cheeks. To work that out. This area here, I'm going to take a line that we started from the center of the ear towards the mouth, straight line. And where it would intersect with the outside pupil. I'm going to bring that down. Towards the corner of the chin. Can be slightly curved. It doesn't have to be extremely straight. In fact, at this point, you're going to find that to keep the features looking more human-like, more organic, you'll want to just slightly curved. I'm just going to lightly put them in as an indicator. That line. All right. These are the signs of the cheeks. I'm going just begin to start adding in some shadow. Under the mouth. Now just here under the mouth, the chin area. So I could curve. The project outwards. Under the mouth is like a small shape, a rounded shape. Nice. You've got a rounded shape here. The underside of that round shape, almost like a part of a bone sticking out. The underside of that being shadow. So I'm going to just create small shading. Semicircle shadow. Can keep your shadows light. That way. Your line meets the end of the side of the head. In the middle of the E towards the eye socket. There's a little reach their bump. Bump where the bone is sticking out. It's where the outermost part of the bone is sticking, so it's not a lot of fat there. Keep that a little curve. That'll create more realism in your features. And the top. But the brow with the outside line meet, project upwards towards the corner of the head where it meets the top of the dome. And that's where the head starts to taper backwards. The skull is not perfectly round shape. You've got reach there. And that again is where the skulls, it's very, very close up against the skin. There's no lot of fat there. But we won't be adding any. I'll just give a little indication of where that can sit. And I find this hand is probably beat 2 square. So I'm going to round it off slightly. Easy to do with pencil underneath the eye socket and be a little bit of shadow. Skin begins to fold up and downwards on the outside of that socket, there's a little bit of shadow there. I'll remove my construction line. Center of the eyes or the brown line here, there's another shadow. It's very, very slight. With this part dips in inwards. Okay. Just keep adding shadows. Just darkening areas where I think there'll be more encountering happening. And that will create a 3D representation of the face from a frontal view. Islands. Because the impression that light is coming from above. Yes, you can start to see how effective this method is for representing a face from the front. If you want to keep your proportions. And you want to replicate the image later again and again. You just have to follow your basic proportions. Kept the shadow under the brow, but I want to add in some eyebrows. I know we said we're not going to add in hair. But I feel like the eyebrows would finish it off nicely. So the eyebrows are going to make them sit just underneath that line. Imagine that line is the brown line, but the brow itself is not a square shape. It's more of a curved line where this line is coming in and had the eyebrows just underneath. Pointing upwards towards the outside slightly can keep them generally a little bit messy. Strands of hair and just gives the indication that there's all sorts of different directions. And then we have a basic facial structure for a male. 21. Review and female face example: Okay, Let's run through all those steps again that we completed in the earlier lessons. From start to finish. This time I'm going to draw a completely different character from imagination. And let's see what we can come up with. Feel free to follow along with me. Or have a go at manipulating the template as you go and see what else you can come up with. All right, let's get started. Start off with my square. The upper part of the head. I can draw a circle within that square. As I said before, I can circle through the middle, finding the middle line, horizontal and vertical. And then complete my circle. This already gives me the center. The circle, horizontally and vertically. Carry the vertical line down. Now we've got a chin. This is going to be a female characters. I may know what the chin to be as well. I'm going to put here 0, 0. Let's find the noise. Now. Notice would be midway between the brow, chin, sides of the head plus the hairline. The eyes. Midway between the chin and the top of the hand, are going to be about there. Are the eyes. So we've got to have ground line, nose, chin, her the eyes on the sides of the hand. I'll drop those down. Make them about midway. My line seems to intersect with our circle. Spring aligning, make the chin a bit narrower. The eye to bind to two again. Circle right into, to divide it in half again. And so circle. The center of that, put our coupon, drop a line down to the nodes. This 0 is going to make the chest a little bit smaller within the space. And then I'm going to stick out as far to the end of the circle. Top of the mouth, passing through the corner of the nose. Hitting that center line. Repeat on the other side. Midway is the opening of the mouth. I'm going to make it go just to the edge of the nose. And I want it to be too wide. Contour of the head, tapering a bit smaller. And a Mayo head comes to the center line. And again, matching the distances. We can keep it consistent. Again towards the center, 0, 0. Now the brown middle between the eye and the side, the head, towards the line that meets the brow, where it meets the size of the pupil. Need to find the middle line. Find the width of the bridge of the nose. And the center here. Towards the chin. Chin is much narrower. So that's going to create a Paris space here. A narrower, narrower. Looking good or any flesh out, some lips. Just quickly. Those two lines slide semicircle, semicircular bit bigger, so they're a bit wider. Okay? The nodes, the nodes semicircle going upwards, point here. And the previous nodes just to add variation above that semicircle. Another circle, two circles below. We can start to add some forms. Quite good. Let's add in some shadow around the eyes. Female. They won't be as much. Definition in the brown. Soften the brow bit. My eraser, I can start to take some of these construction lines the way down into the noise. From the center. Make my nostril shapes. 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00, 00, 00 00 00 00. Looking good. So far. Let's add some more contour to the side. Midway between the what's the mouth? Just drops down from the outside of the eye. The chin. The same step and took down towards the chin. The ancient the head. And this is going to be quite a few younger face. There won't be as much shadows in the face. Generally gives the impression that the person is older than some of these construction lines. Type is in slightly then goes back out. 00 00, 00, 00, 00, 00, 00. Dark skin fold just a little bit darker. A little bit darker. Skin phone just to me. It just makes the skinfold pushing up a little bit. Can we make this character a little bit better? Top lip will be darker because that's receding backwards towards the inside of the mouth opening. The most bottom lip a little bit darker. Towards the science, I start to get darker as it recedes back in with underneath the bottom there where it meets the chin. Just a little bit of shadow there. Signs of the cheekbones. Little bit darker, darker. Three-dimensional look. 0, 0, 0 is not as pronounced. Put in shadow and all the top of the nodes. What I'm going to add in some high Brown's, another male face. Just touch-up areas where I believe it should be a bit darker. 0, 0, 0, 0, 0. We have it. It's a very basic design, very simplified and easy to draw. I can manipulate anything within this easily because it's very symmetrical as well. But if I want to lengthen side the jaw line or short-lived can just already worked out where I need to go because I've got my construction lines lightly in the background. If I felt that the eyes weren't quite position quite right, I could erase them and start again without having to change anything else. And the phase, if the nodes, I didn't feel like it was quite right, I can keep working into it. Oh, remember that completely and start again. But I think works out quite well for a basic structure of the female face. And again, you can apply this technique to any type of face. So as you can see, it works quite well. 22. Conclusion and class project: Thanks for spending the time with me to learn some of the techniques I use for drawing heads from imagination. I recommend going over the videos again and following along with each step, making variations when you feel confident. These steps will help you improve your ability to draw a basic shape to use as a template. Ability to draw the features of the face in position and proportion and add light and shadow to create form and features. And then for your class project. And really like to see you create a character head drawing from your imagination. You could use a character you've created in the past. Or you could even base them on an existing character or person that you would like to draw. The objective is to exercise your creativity and work from imagination. Remember to start off with the overall structure first using the process outlined in this course. Working your way to the smaller details. And finally the shadows and lighting to create form and breathe life into your character. She your final results with the class in the your project section. I'm really looking forward to seeing what you are able to create. And please don't hesitate to ask any questions as I'm always here to help. I hope you've gained some valuable knowledge to add to your skills as we all progress on our creative journey. Thanks for joining me.