How to Draw the Face From Many Angles | Anime and Manga | Sensei Teaching | Skillshare

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How to Draw the Face From Many Angles | Anime and Manga

teacher avatar Sensei Teaching, Anime and Manga Drawing Made Easy

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Class Trailer


    • 2.

      Introduction & Materials


    • 3.

      Warm Up


    • 4.

      From Flat to Solid


    • 5.

      Tridimensionality - Perspective


    • 6.

      The Sphere


    • 7.

      The Sphere for the Head


    • 8.

      Angles for the Head - Explained


    • 9.

      Drawing the Angles of the Head


    • 10.

      The Neck


    • 11.

      The Eyes


    • 12.

      The Nose


    • 13.

      The Remaining Features


    • 14.

      The Class Project


    • 15.

      Using Reference


    • 16.

      Final Thoughts


    • 17.

      Bonus Video: Upwards Face


    • 18.

      Bonus Video: Downwards Face


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About This Class

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Drawing / Drawing Fundamentals / Classes / Courses / Tutorials / Anime / Manga

In this Class you’ll be introduced to volumetrical drawing, understanding how to use the basics of perspective to give dimensionality and believability to your character’s face drawings.

You’ll also learn the difference between shape and volume, the relationship of the front and side views of the face, to more tridimensional views, and how to basically understand the volumes of the head and the face, with the help of simplifying, and perspective.

The Ultimate Goal of the class is to give you strong tools to start understanding the head for drawing as a volumetrical form, having dimensionality on space and being able to be drawn on multiple angles.

What are you waiting for? Let's get started!

Sensei Teaching does not own any of the commercial, distribution or creative rights of registered Anime and Manga characters that appear in its classes.

They are not being used for commercial or distribution purpose themselves, they are only being used under fair use, as an informative, commentative and educational medium to exemplify, comment and create a new transformed content, for the offered classes of the website,

The respectively taught art topics and knowledge in each of Sensei Teaching classes, are the main focus of its content, which in general is learning how to draw, and learning how to draw characters in Anime and Manga style.

Thank you! All characters belong to their respective owners. All rights reserved ©


Intro's Picture: Mercedes Bazan

Intro's Music: Snail's House

Music by: Otis McDonald | OPO | KXLD

3D Models: Coin | Witch | Cube | Chrono Goku | Skeleton | Neck |

Thank you! 
All rights reserved to the respective owners©


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Sensei Teaching

Anime and Manga Drawing Made Easy


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Level: Intermediate

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1. Class Trailer: Hey, this is learning how to draw the face at angles on anime style. In this class, you'll be introduced to volometrical drawing. Understanding how to use the basics of perspective to give dimensionality, believability to your character's face drawings. You'll also learn the difference between shape and volume. The relationships of the front and side views of the head to re dimensional views. And how to basically understand the volumes of the head on the face. With the help of simplification, the principles study in the class can be used, any kind of drawing style, even if you're not a find of animate. This class will teach you a lot. The ultimate goal of this class is to give you a strong tools to start understanding the head for drawing as a biometrical form. Having dimensionality on space have been able to be drawn on multiple angles. By the end of the class, you'll be able to draw your own characters on six different angles, including hard draw the neck and the facial features. You'll end up with a lot of confidence, everyone can learn this. Why don't you take your sketchbook and let's start. 2. Introduction & Materials: Hey guys and welcome to another class. Thank you so much for keep on following my content. In this class we'll be learning hododrawicfaceing, four new angles. We also make it easy to follow a step by step resume on hododradicfront inside views of the pace, which you can actually see on wider depth in each of the previous classes. If you haven't, here are the links in the notes of the video and the about tab. For a class project. We'll be drawing on the same page a character of your preference in all of the learned phase angles. Altogether, they may seem a bit challenging at first, but once you have finished this class, there won't be any hard because we'll be learning each of the fundamental concepts needed to break down this topic into small steps that anyone can understand and apply into their own work and style. Great for this class materials, I'll use a two V mechanical pencil, a mechanical eraser, a red pencil, some colors. Squadrler, Wacom tablet with a Be Photoshop. The brands are not really important as long as each material does well its job. The mechanical versions of the pencil and eraser adjust my preference since they feel much more comfortable compared to the regular versions which usually wear down. But if you don't have access to this at the moment, it's completely fine, you go and use the ones you have on hands. What's important here is the knowledge that you'll be learning, not the materials you'll be using as a matter of practicality. I'll be also using digital media to explain many of these new concepts. But to be honest, there's no point in to trying to put up digital over analog or analog over digital. Just use what you feel most comfortable with. All right guys, without further view, let's get started. 3. Warm Up: It's a great idea to start drawing new things by first having practiced for a while some basic shapes. That way you won't feel stressed over the fact that you will jump out straight to the activity without any preparation. Since we will be drawing in this class some head forms while being guided by circles and crossed lines. Let's practice the previously mentioned by doing the following easy exercise. Start by drawing a row of circles that will extend to the end of the page. The size of the circles should remind to the size of a regular coin, the number of circles shouldn't matter. Now just try to fit as much as possible on this row. Don't think about the circle being perfect. Take your own time and just do it as best as you can. Right after that, start placing a part of the line hatching horizontally. That won't go further on length to what the previously circle did. The same for the height it should fit. Then redo the same process next to the previous line hatching, but this time switch direction to vertical. It's very likely your first lines won't be perfect. Keep cool and take your time to trace them in a way they will be done as best as you can. Hand will start to be less stiff with each stroke, so your lines will also get better. Just repeat this process of filling one row with circles and then another one with horizontal and vertical hatching lines until you fill the entire page. This exercise shouldn't be rushed. It should be for you to make yourself very comfortable with your hand, your pencil and your medium being a paper or being a suffered, it doesn't matter. Once you have completed this part of the process, go ahead and fill some of the circles that you previously did with a smaller ones inside until the circle looks full. Try to make these inside circles not touching each other. And also don't fill, all of them alternate between them to create some rhythin. Now, complete the warm up and once you're ready, let's get our hands into nice work. 4. From Flat to Solid: Great to draw the face on multiple angles, we must have a clear understanding of how to draw the head on front and side, since drawing at angles is just the result of understanding the views of form display on different directions. Without these two principal views, it's impossible to properly know how to locate the features of the face and forms of the head. Let's review how these are working together. Please follow me by drawing your own character or copying from the one I'm about to do before beginning. Make sure you have two different color pencils to draw. Then take another piece of paper and start by tracing a circle at a cross line right in the middle of it. And then two diagonal lines that will chop out the form to make it more head, like just like I'm doing on the demonstration. Divide the inferior half of the circle into four even parts. See here how I identify them by calling one of these spaces one x and the sum of them four X. Then right on the middle line that crosses horizontally, the whole circle at the eyebrows and below them matching the tiny guideline that goes next. Place the eyes on each side. Now locate the nose right on top of the tiny guideline that is before the bottom of the circle at the bottom. Locate the mouth. Okay, place the counter of the head form and proceed to extend a space equivalent to two x right down the circle, which we will use to draw the cheeks and chins proportionate shapes, Erase any of the ey marks. And draw the ears, which are going to be placed based on the distance that there is below the eyebrows. Going down to the nose, we're almost done. Draw any kind of hairstyle you would like to add to your character. Keeping in mind that the volume of hair may go a bit further, the top of the guide circle to make it look natural. Finally, at the details, you would like to end the neck shape based on what I'm just doing. Don't overthink the neck shape since we will be reviewing it on a much deeper level later on the class. Nice, we have our front phase now. In order to keep the next view of the phase, proportion and cohesive, I'll be using exactly the same proportions for the side phase, one next to the other to make sure it will be working as expected. Trace a horizontal line according to the guide circle we used to draw the front phase and proceed to locate the following guidelines. Add now a cross line over this new circle, making sure it corresponds as well to the previous one. Then divide again into four even spaces, the half downside part of the new circle. And add the extra two x space that will be used to locate the chin. Locate a new circle inside the main guide circle, which will go from where the chop diagonal on front is to the extension of the tiny guide of the character's mouth. Then proceed to locate the facial features by extending a simple vertical line to the end of the main guide line. But this time the facial shapes should resemble the side view of the face. Add now the ear at the left part of the cross in the middle of the circle, and the remaining detles until finished. Please don't forget this character is the same as the one from the front view. You should look forward taking care of adding the shapes to correspond cohesively between drawings. I know this might be a little overwhelming for new students. If you might want to feel more confident about drawing these two views, you should practice them a few times from the given instructions of this video. Or just if you want to go deeper. Again, you could remember to check out the previous classes I made about this topic. All right, Continue. Take a look on the drawings you just did for the class. Don't they look cool until now? And over the previous classes, we have understood the views of the face to be made true. Only shapes which are the dimensional on your drawings, being the sum on interpretation of geometry. Working altogether, they are great to understand basic proportions and a straight frontal views of things, but they lack on properly described three dimensional forms. To understand better what I mean, please look at the following example. This circle has height and width. It's just a shape, as you already know, right? But where is depth? It sure looks hard to tell how to move this shape through space or what's its form. If we also consider this not as a shape, but as something three dimensional which now displays depth, it's going to be easier for you as a draftsman to describe the three dimensionality and form of your drawing. Much cleaner and more convincing. The first step to go further front in side views to now a biometrical three quarter view, which is a view that displays the head tilted at the side in the middle of them is to understand its connection. Notice how the first op, diagonal lines of the front view are related to the circle with it inside the side view. The thing here is that they are the same part of the head, a circular plane. They correspond each other as a very recognizable side plane of the face, which will be of great help when understanding and drawing more angles of the face. Notice that a circular plane is a circle shaped, parted on a space. It shouldn't be confused with a sphere. Now, color over the plane. As I'm doing in the demonstration, you have a better understanding of this topic. Try to conceive this circular plane to rotate just like a coin. That way you'll start to form yourself a better idea of how the face and hell should look on the three quarter view, with all of its proportions maintained and its features well placed. This plane, of course, works for both sides, left and right, in such manner for you to properly draw the head at this and more angles, you'll need to understand the previously seen guide circle. Also a three dimensional spherical form instead of a two dimensional shape. Knowing now how long it extends through the space and how the chop side planes are working together Related to the sphere form to accurately give volume to your character's head. The process is pretty much the same star, helped by the guides, but this time with the volume form as a guide. Then just add the facial features and remaining details to now, how do we learn to properly understand and draw this sphere? And how do we know how to chop it according to the head corn so we can now make our drawings feel alive with nice volume and not flat shapes. Well, you came to the right place. Let's take a look at this topic. 5. Tridimensionality - Perspective: In previous classes, we've learned that shapes are great to break down the things that we aim to draw, starting from the basic circle, square, and triangle to the extension mixture and variation between them. They really help beginner artists to simplify complexity and thus making it more digestible for its understanding. Given the current example on the screen and the previous explanations of the class, how could one be able to draw the same character on different angles? Yes, you're right. As seen in the sphere example with three dimensional forms and the extension mixture and variation between them two. Great, I understood this. I want to welcome you now into a new world. A very new way of seeing things. As an artist that will dramatically improve the manner you perceive conceive project and draw things. Welcome to the world of perspective drawing. I know those experienced artists have already heard about it. Some others have even been using it as part of their drawing techniques. But many of you, I know my being now feeling intimidated or overwhelmed by the fact perspective drawing looks a very difficult thing to swallow at first grant, but I'm here to tell you it's completely fine. Perspective is easy. If you have had previous experiences that made you feel it's the other way, then just set aside what you think you already know about it and give yourself the chance to take a fresh new look. We'll be using it here to directly apply it over our subject, the drawing of the head. I won't go very deep inside what perspective drawing is and how it works on different scenarios. I'll just mention what I consider relevant for you to understand at the moment, our class stuff follow me by doing the same as I do on this demonstration. Let's begin with the very basis. First starty placing a horizontal line that goes all over the paper from extreme to extreme on perspective. This line is known as the horizon line, but it's as well the eye level, the hide view, as the observer is conceiving the things you perceive through your sight over the horizon line. And commonly in the middle of it lies the vanishing point. A point where everything that you perceive vanishes its direction. Then there's the plane, which is a flatform over space that can also become part of a more complex object. If we take the four corners of the plane, we are perceiving and link them vanishing point through orthogonal lines, which are the projection lines that help the artists know how to interpret the objects. Depth, You'll be able to construct multiple planes that will go in different directions, but cohesively together we'll create a bigger object. This time, the cube, last thing to know is the viewer, which is the person that is perceiving all of the volumetry of the scene you are creating. In this case, these are just very basic elements of perspective drawing which you will be using from now on which I'll be referring multiple times throughout the class. You might want to keep an eye over their names and their meanings. The cube is a great and common way an artist uses to understand any object Rouge space. This because a cube can easily show its three dimensionality, allowing the artist to interpret difficult forms throughout the planes the cube shows previous to see head volumes to construct the heading perspective, I want you to get some basics over the way three dimensionality objects relate to the horizon as simple as possible. Please again grub another piece of paper and follow me on this demonstration by doing the same as I do, place the horizon line and the vanishing point. Then draw a frontal square foot and extend some orthogonal lines to its corners. Just like we did on the previous demo to construct the cube right below the horizon. Thanks to this treating model example, we can see how perspective operates. Objects that go below the horizon will display more of its top plane, while objects that are on horizon and move towards a side direction will show more of its opposite side planes. If it moves to left, the right plane will show if it moves to right, the left one will pause the video and draw these two cubes. Just lay the example I did on the screen and when you're finished, I pass. How will the top cube go? What will be the plane that will display the most? Please pause the class again. Draw it as you consider and then come back. When done, I bet you got it. The bottom plane of the cube is the one that shows more. If you didn't get it right, it's completely fine too. You're still learning. Keep on watching the class to understand more. Remember that the horizon line is equivalent to the eye level of the observer if the object goes above the horizon. Or eye level means it is above the observer's eyes. If it's below, it is below the observer's size. To the preceding model shown on the screen is an example that could apply to how simultaneous objects on your side will display their three dimensionality. But also how a single object will look if the same object will move throughout the space. This can be understood if you see the relationship of the object with the horizon being the vanishing point, and the horizon the ones that are moving while the object rotates itself. Okay guys, I hope I made the previous explanation as simple as possible. 6. The Sphere: I understood the basic relationship of the cube to the horizon line. We need to know how the sphere works in perspective. To grab a new paper and follow me by taking notes and sketching the same as ago. First son horizon line. And then draw circular shape below. Just like we did in the previous demo with the cube. How would you describe the spheres form to much perspective, just like the cubes did without knowledge? That's a tough question. The frequent way every artist uses to do it is to add two circular planes inside the spheres Counter one vertical and another one horizontal. The amount of space that will display will variy depending on how far or how close the sphere is from the vanishing point and the horizon or eye level. If the sphere is right below the vanishing point and horizon line, the vertical plane will remain as a straight line. Since it won't be going away from the vanishing point. It won't be rotating or tilting. But the horizontal plane, however, will display more itself, similar to when we located a cube below the eye level and it show a part of his stop plane. If you locate another sphere right in the middle of the vanishing point in horizon, you'll see either the vertical or the horizontal planes are going to show because the sphere is right in front of your side, not above or below. If the sphere goes to the left side, but still remains over the horizon, then the opposite as the first sphere will happen. The vertical plane will display itself, but the middle one wouldn't, since it is aligned to your eye level or horizon. Do you see how the same principle explained with a cube works on the sphere as well? The planes reveal themselves, depending how far they are from the vanishing point and the horizon applying to the above located the sphere to the right side to now if we will have a sphere located diagonally to the vanishing point and horizon placed to the right of the vanishing point and below the horizon as well. How would the inside planes look like? Please pause the video and draw them both. Once you're done and pass and proceed with the class, check your drawing with the current example, the vertical plane will reveal itself as well as the horizontal one. You might be wondering, yeah, I see how the sphere is related to the horizon and the vanishing point. But the construction of the circular plane doesn't make any sense for the cube. We needed orthogonal lines to accurately constructed. But how do we know the circular plane is actually well made, that it actually links to the orthogonal lines just like the cube, so its depth looks correctly in every situation. The answer is simple. By understanding how the circular plane correlates to the squared plane, crossing two lines right in the middle of the squared plane. We can run up each corner drawings of marks and create a circle formed inside of it, one that goes according to the same proportion. This is how it looks like. Putting on perspective, we first create a square plane on a direction that resembles line on a surface held by the orthogonal lines. Next, we locate the cross lines right in the middle of it by calculating with an x that should fit inside the plane and that should go from extreme to extreme, the exact middle point. Finally, you just proceed to locate their, just like you did it before, until you now have a circle plane on perspective. For the following demo, please use a different color to differentiate between guidelines and final planes. As always follow me as I go by drawing the same. After having traced the horizon line and vanishing point extend to vertical lines that go one parallel to the other at an even distance from the vanishing point. These lines are going to be guides to know while drawing that all the planes are the same size. The only difference between them is that they are one on top and below of the other one right below the horizon or eye level. And showing how each of them displays themselves. The ones that are closer to the eye level, the less they display themselves, the ones that are farther away from the eye level, the more they display themselves. The same behavior applies to both shapes squared and circular. For all of the directions, you can find the perspective above and below, and left to the right. Just remember that all of the planes should always come from the flanishing point constructed by the orthogonal lines. Okay guys, but how do we apply this now to construct the sphere with its inside planes being correlated to the horizonal orthogonal lines. It's just a simple matter of remembering the past principle. The further away the object from the vanishing point, the more it will display its vertical plane. The farther away the object from the horizon line, the more it will display. To just create the necessary planes by locating them inside the sphere counter and connecting them to the vanishing point, helped by the orthogonal lines. Then find the middle of each so you can place the circle and there you have it. The key is to link that the sphere form behaves very similar to how the head doesn't perspective. And that by based on the simple form, we can easily go further and locate the features and details that construct the human phase. For this class, we're going to learn how to construct the main angles that the phase makes when moving on perspective only to site directions. Since going above or below the horizon is going to add more variables that will make this first stage of the process unnecessarily more complex. We will leave those for upcoming classes, which are going to be easier by then when you have already mastered how to draw these first angles. Now let's see how the sphere becomes useful to draw heads. 7. The Sphere for the Head: Every object, if considered on perspective, has three axis. Axes are a way to understand the three dimensions of any object. But especially on spheres, it becomes extremely helpful since they don't have all of their planes clear to differentiate their positions related to the horizon. Spheres just have their content. Many people interpret them with different names. For this class, we'll be naming them the way I used to interpret them. Y is going to be the axis I'll be using to refer to the height of the object. X corresponds to the width of the object, and C means the depth the object has according to the octagonal lines. And its connection to the vanishing point C is meant to be a great help to see the overall depth and direction of the objects. Even if X and Y are not marked to be visible, we somehow intuitively recognize them easier. Yet is not easy to recognize at a glance if it's not drawn first, or if you don't have enough experience using it. Since perspective drawing is breaking down the loss of how we perceive the three dimensional reality over a flat surface, like paper or not a screen. Notice how the axis goes through the y and X axis and its circular plants by passing right in the middle of them. Also notice how we can apply the previous knowledge on how to create planes and circular planes in perspective directly to our sphere to make sure it's well placed on perspective. This spheres location is very far from the vanishing point and the horizon line for the sake of the clarity of the explanation. But as mentioned in the previous video, the angles will be covered in this class are just related to the side movement of the head, not the tilting to above or below the horizon. The plane shouldn't display any of its length because it's actually aligned to horizon different from the Y plane. Where you can see here if we project orthogonal lines, that comes from the vanishing point from the right part of the composition. Even if vanishing points or horizon lines are not obvious at first glance, because they are not drawn, everything that you'll be drawing volometrically will always be related to them. Please keep that in mind for the spheres, cubes and more complex forms that you will be drawing. That's why axis can be a very helpful Okay spoke in the previous Let's see. Know how to cut the sphere to identify the side planes of the head, just like we did on the front and side us video of the class. Please follow me on this demonstration by drawing the same as a go draw spheres counter and fill it inside with y and x planes that should be matching the spheres location related to the horizon line and vanishing point. I picked this spheres location for this demo for clarity of the volume again, just remember that for our angle vis, we will be locating the sphere right on the horizon line based on the y planes length. Locate the new planes that will chop the sphere. It should go less wide than the middle one, since this plane is closer to the vanishing point than what the other is. Remember that planes further from vanishing point and horizon line reveal more themselves than the ones closer to it. Then the same principle applies to the right side plane even if it's inside the sphere. See how I draw thinner lines for the inside planes for the sake of clarity of the drawing. All right, this is the basic knowledge behind chopping out the sides of the sphere. It wasn't that hard right now. Let's do this again by placing the sphere, just like we will use it for drawing the face angles of the class. Please keep on following this demo by drawing exactly as they go over the explanation. Locate a new counter for the sphere right in the middle of the horizon line. Then the inside Y plane, the not very visible plane. And finally, go ahead for the chops. I like to cross a visible line over the visible side plane to help myself later place the year in different parts of the side view of the head. I also don't stress over the length of the final plane that goes opposite of where the vanishing point should be located. This plane should be at least the same length of the middle one or longer. Since the farther from the vanishing point the longer but never shorter. In this example, I intentionally didn't place vanishing point because we won't be using it every time we're going to draw a head. Of course, I'm always considering it. This time it is coming from the left part of the composition. Just remember, every time you are constructing this form that this is not something isolated from the final drawn will be doing this is actually the forms that are serving as guides and structure for the volume of the head and the placement of the facial features. It might seem very obvious at the moment, since we're not finishing the drawing yet, but remains very important, can be a very common mistake when just turning this topic. Remember that the chop part corresponds to the side part of the head of our future character and the front part to only the face. 8. Angles for the Head - Explained: We're finally into the juicy part of the class. We've learned most of the complex things from the perspective knowledge. Now we can directly apply for drawing the head. From this point on, we're into the most interesting part where we'll see your characters take form. So I'd like to explain and share a few tricks into how to avoid common mistakes when drawing the sphere guide before jumping straight into how to draw each angle. The first one, use the line way to your favor. Carefully see that I only draw thicker. The lines that are corresponding to the outside surface of the sphere where the planes look confront the part of the plane that goes throughout the sphere to the back part of it since it's not visible up front, but it is necessary to understand is drawn with thinner lines. The second one is to always keep in mind the curvatures of the old shape the circle plane has in perspective. Another thing that seems pretty obvious but that I've seen beginner artists do it wrongly. They forget that the shape should remain the novel. Very curvy and soft. Not straight or pointed. That's it for the tricks. Let's proceed to the angles of the head. A special way that I like to use to directly and properly draw the of the sphere, depending on the angle, without the need of a horizon or a vanishing point. Goes like this. Knowing where is the front part of the sphere, the first thing to do is to base on the y axis, which should go right in the middle of the sphere, Draw half a circular plane. Then based on its length, draw the other half, which should be the same length, or a bit less than the previous one, but never longer or shorter. The same principle applies for both planes, the vertical coming from y and the horizontal coming from X. Said the previews, please follow me doing the same as I do on this demo. Keep in mind that only watching and not applying is going to let all of this knowledge to dust words mastery comes from being active guys, please remember that. Okay, start by first doing a circle for the spheres counter and locate the Y axis. Then trace a line that should go on top from the middle of the sphere to the right extreme of it. See how I make sure by extending this extra thin line that it actually fits the correct size. Then intuitively dividing into three even parts. This measure and name all of each part like this on top of the white plane. Front, then three quarter, two quarter, and finally side. This is to break down the rotation, movement of the sphere based on the vertical plane, which is going to help us locate the angles of the face. Each tiny line you've made for dividing each part is going to be the limit for placing. How much the plane is going to rotate if the plane is looking straight to us, which means the vanishing point is not going to reveal himself but is still there. See how marking it here with blue color. If the vanishing point goes away from the sphere to the side, then it's going to reveal the plane. Progressively, the further the object from the vanishing point, the more the plane is going to display until eventually the plane is going to fully rotate. You can see this dynamic happening starting from three quarter, passing on to quarter on the side. I'm only using blue color to show how the dynamic is working for clarity of the explanation. Thus, as you could see, also one sphere. Go ahead and do the same steps, but I advise for a better understandment. Draw each angle plane, each on a different sphere, or all of them on one, with each plane with a different color. Okay, I've explained until this moment perspective drawing from one vanishing point. But in order for a plane or an object to fully rotate, we need to add a second vanishing point. This can become unnecessarily more complex at this stage of the class. The steps I'm given are just enough for you to understand the rotation of the sphere and its circular planes. For the sake of the head drawing at these specific angles, maybe if you're starting to notice that something is not making sense, it's just the result of the lack of knowledge about one vanishing point and the second vanishing point working both together. That's why it's completely fine if you don't know more about this from this point. We are, for instance, based on the previous explanation about how the head should rotate, held by the inside plane that represents the Y axis. We can start placing the side planes of the head, the ones coming from chopping off the sphere and all of the facial features. The same way we learn to place them over frontal inside views. Then by moving the Y axis plane and the side planes of the head to the degree that matches the desired view, we'll be able to cohesively draw the three quarter, two quarter and side views. Pay attention that on screen examples are rotating the angle of the head to the right side, but it isn't necessarily restricted to that direction. You can always apply the same principles on the direction you choose, being right or left. Okay guys, one last thing that I love to talk about are these two extreme angles that I find very interesting. I call them the treaty side view and the treaty front view. These angles are just the slightly tilted versions of the front and side views that we already know how to make. Because regular front and side views are somehow flat, since right straight on the viewer, the features and values won't appear very dynamic to construct them. It's just a merit of placing the Y Xis plane very close to the front view and to the side view, each one allowing the head to display just a bit of extra information over the chopped out planes. That will add very interesting dimensionality. See right on the screen how I mark the placement of each Y, Xis plane. Remember when placing the side planes of the head that they should be corresponding to the rotation of the circular plane. Also remember the principle of planes display more the further they are from the vanishing point, then just proceed to locate the features on the correct proportions. 9. Drawing the Angles of the Head: Wow, I'm very surprised you made it through here. You sure have a spirit and you have a clear desire to truly learn how to draw. Good, I'm sure you're going to get great at drawing this matter and many more. Well, just keep consistent and keep practicing. Never give up. Now, continuing with the class, take a new piece of paper and let's put all of what we've just seen in the class altogether. I'll be using red color to show the guidelines. Apart from the final drawing, I recommend you do it as well. Start by drawing four circles. You can try to use different sizes to make the overall look of the composition more interesting. Then locate the y and X axis. Select the direction you want your head to go forth, and choose one of the explained angles by drawing the guide that will help you to recognize each of them. Finally, just proceed to at the side planes of the head. Make sure that all of the planes each sphere has are being placed based on how far they should be from the vanishing point. The further they are, the more each well displayed. I know it may be evident for some. But make sure that each sphere is being run on a different angle. Going from tree front, three quarter, two quarter, and tree side views A t cool done. All of the previous guidelines. Pick an angle you want to begin with and locate the guidelines for all of the facial features. Keeping in mind that one must divide the lower half of the sphere into four even parts. Then extend the line coming from the center, cross over the sphere surface to go to two extra even parts, which I'm naming here two x. Just like we did in the first exercise of this class where we did draw out the front in side views of the face. Start by placing all of the face shapes, go with the order that you would like. Just make sure that they are corresponding to the correct proportions you already know. Finally, at the counter, without putting any deal, and don't worry about locating any hairstyle at the moment, we purely want to understand the head and face as a whole. Here could be a factor of distraction right now remember that the jowlination shows itself the right after passing the location of the mouth. And that the to chin connection shouldn't be a straight line. But inclitively add some curves and breakdowns that define the join chin form more three dimensional. I want my girl but when they get that, I know Ty girl out. Just don't worry if each face angle is not coming out perfectly. Just focus on feeling that the drawn character on each angle actually looks still to a different direction. And that it also she feel proportionate and believable over these angles. The same features, location relationships are working. As we learn on frontal and side views of the face. The ears shouldn't go beyond the eyebrows and the nose. The distance between each feature works the same. The mouth shouldn't go further than the middle of the eye. I know I haven't explained how most features behave depending on the angle. Like for example, the eyes and the nose. Just focus into drawing based on how I draw a screen. Don't worry, I'll explain how to place all of them right after this video. This exercise is very helpful to get used into drawing each different angle as a whole process. It can be used to later draw multiple different characters with different features and styles together. Or to draw the same character facing different directions. That's it for this part of the class, guys. Don't you like that? You now know how to draw more angles. Just keep practicing and eventually they will come out more natural to you. 10. The Neck: To draw a bunch of heads just floating around will be weird, even without the body. A head neck to be drawn with a neck to be believable and natural. That's why we'll also be covering this very important subject on our class. We'll see how to draw the neck depending on each angle for starting. The overall volume of the neck is a great way to truly understand what's going on over there. How's the anatomy, how's the neck working related to the head and the body? And how are the parts of the neck related even between each other? Let's take a better view of what I mean. The neck is of course, attached to the whole body throughout the torso on frontal length. See how it goes to these very elongated bones right above the rib cage, which are best known as the color bones or clavicles. On a side view, it goes right above the shoulders and over the back to the shoulder blades or scapula, which are connected to the clavicles. We won't be going any further from the part that extends from the head to the clavicles on front view. This is the part that we will be focusing on on side view. See how it goes from the end of the round scull to be on top of the shoulder, on the back side. From the end of the round scull to above the shoulder blades as a starting point, why don't we check out the next overall shape and proportion. Given the drawing process we already know from front and side views of, Please post the video and draw one front and one side view of the head to practice the given knowledge on previous videos and to learn the next one to show. Then once you're ready, go ahead with me and draw at the same piece the following demonstration. All right, based on one X as we previously learned, we shall be extending down the chin another four X measure for the neck to be placed. Trace some horizontal lines that will meet the two views so they can clearly relate each other and maintain proportions. Then just to start locating the neck shape, you're just the way you are. First draw a cylinder forms from the cheeks to one x down the chin. Then trace two opposite almost mirroring diagonal planes that will occupy two x and a half. Finally, just connect each other to the center of the character with two other diagonal lines for the side view. Extend a line that connects the end of the, with the spine, which should go to right the same height of the chin. Then draw a new line that starts where the facial features end to half an X, almost to the chin. Now extend from the line that goes to the spine. A new diagonal line that extends down three x and a half is part of the tropceous muscle right next to the little diagonal below the jaw trace. A straight line that goes almost to x if counting the health and x before the chin. From there extend the diagonal towards the chin direction which should touch the end of four x main measurement, just connect the back part to the frontal, one of this next view. These are the main shapes the neck gives if considered as non barometrical forms. But just like the front and side views of the head working together based on them, we can construct the way a three color angle would work if these were not shapes but volumes. These forms are based on a two point perspective dynamic. Thus, the volumes are coming from two vanishing points and not only one. As I said before, explaining this relationship of more perspective related topics at this stage will be unnecessarily more complex. For the sake of the main topic of the class, just approach this as a manner of identifying the main volumes of the neck form and not a construction process for them yet. Based on the rotation of the simplified volumes, you will try to memorize the angles they given each view, we can be able to draw them attached to the head. The blocky volumes are just a more evident way to show the rounded ones. Both are the same, okay? Considering the horizon and a vanishing point to be aligned to the head, the head volume and the inside planes we used to describe its form wouldn't show any three dimensionality at first glance. However, the neck would by remembering the inside circular plane of the cylinder form. They should also revere and display themselves the farther they are from the horizon. Once again, please follow me as a draw this demo by drawing the same on your sketchbook. The aim for this exercise is for you to take a good grasp on the three dimensionality of the neck rather than to exactly construct it as a non flexible process. Try to draw this time in Twitty fly. The proportions of the neck should remain as close as possible to the original ones. But since these volumes are going to be rotating, they will switch shapes and thus some proportions of the shapes. It will be very difficult and impractical to measure all of them. Starting with the front view. Draw a vertical cylinder that should remind the overall length of the neck. Then keeping in mind that the farther away from the vanishing point the plane, the more it displays, draw the following shape as a vase for the whole form of the neck. Once done that, just connect the cylinder to the vase by extending two lines that will resemble the trapitious shape. If we draw right in front of us, this base shape of the neck, it will be seen like this. This stop view is going to be of great help when drawing all different angles as well. So don't lose it from your side. See how the more these forms are rotating, the more departed goes away from us. Heights and the more departed comes towards us. Reveals I've placed an inside plane on the cylinder to show you how the rotation is actually taking place. It's very helpful to understand this basic plane rotation to learn how to do it with more complex stuff. Okay, I'm sure that all of this volume movement through two vanishing points on perspective may be leaving you more questions than answers. But keep on focusing. How to break down these forms by memorizing the way they will be simplified and placed and not the core of its construction and movement. We will definitely see these key and core concepts on the upcoming classes. Select the three quarter and two quarter angles for the sake of make things much easier for this explanation. If you would like to apply this over the treaty front view and treat side view angles, just go with these front and side views of the neck, which are really close to them. Okay. Please don't draw anything over these previous blometrical forms. We'll be using them for better understanding. I mentioned before that anatomy will be very helpful for understanding this matter. You've also listened to me to mention names of muscles, thus let's check them out. The first and most visible muscle of the neck, it's called the sternocleomster. What a name? It goes attaching from the cranium right behind the ear to the color bone. Just like I'm signaling on screen, this muscle is located symmetrically on each side of the neck. After the muscle passes the ear down to the clavicle, it branches with two parts. One attaches to the middle of the clavicle, ending up a bit thinner than how it started. And the other one to the opposite direction over the clavicle as well, and a bit thicker and wider compared to the first branch. Remember the previous drawings and follow me as I go to locate each of the explained muscles over each pulse a different color for each muscle so you can differentiate between them. Start by drawing the clavicle, by just following the shapes the frontal part of the base has and then attach each. See how the second branch of the neck usually attaches to the curvature of the clavicle for two quarters in side views. Also see how this muscle reveals itself on the side view to have a clearer understanding and then located to please don't change. You're perfect, just the way you are. My head. I the second muscle that I consider relevant is the tropcus which you heard before. Look how it looks in general, including the back part of it. Knowing that the front and side views are going to be the most relevant because we won't be focusing on any other angles for the head and the neck that will include them to face backwards. But knowing how it is related with the back side of the neck, since it is the place where it must covers is very important. Now, it attaches to the back part of the skull, elongates to the shoulder blades, and falls in to end attaching to the back part of the clav, just like we did before with the sterno clatomastoids. Let's draw them over to learn how to do it. Once you have understood the previous two muscles, it's going to be even easier than drawing the face. All right? The last one thing that I would like to show you guys is to put in action all of this knowledge together with a brief demonstration. Here we go. First, learn how to consider the front and side views of the neck, not as shapes but as volumes. Second is to attach these basic volumes, right where the head form cuts at the height of the nose and beginning of the jaw. After that to locate the two main muscles. Beforehand learned, the sternocletomasoids and the tropsus. Wasn't that hard now, was it? 11. The Eyes: As mentioned beforehand, the further a plane from a vanishing point, the more it displays its length, which also means the more it rotates, see how each plane corresponds to the orthogonal lines correctly. Except for the last one, which I modified to look completely frontal, since it also relates to a second vanishing point. Now remember that this dynamic completes when you use two vanishing points. In order to correctly use perspective to place the basic shape of an eye, I'd like to consider both eyes as planes that will be affected by perspective as well. If you just draw an eye, put it inside a rectangular plane and with an x from corner to corner, find its middle. You'll be able to guide yourself when the head form should be tilt to a side angle where the eyes will also be affected by perspective distortion. Rub your sketchbook and go after me. By drawing the same as I draw, being guided with the sphere guideline, Draw a three quarter head, that its horizontal plane is aligned to the horizon. Never forget about that. See how in simplified terms it can be perfectly compared to a que. If you remember from the previous class on drawing front pass, the distance from eye to eye must be of another eye. That is a reference point I take to always play them well apart. Let's now place them over the three quarter phase we just made. Whether you pay enough attention. You'll also find that both eyes together with an eye of distance between them, sum up on a plane obviously wider. Thus, by remembering how a plane rotates, consider now that the phase, which I'm signaling here in the head where the eyes will be located, is also going to be affected by a second vanishing point over the same horizon. This time located at the right side in distance. If this plane is not right in front of us, but at a side, it will be formed naturally by the degree of its orthogonal lines. That will show the plane to be slightly bigger when facing to the viewer and a bit smaller to the direction where it vanishes. But how do we correctly place the ice on distortion if there is also distortion between each eye and not only inside the ice. The way I go is considering first this long plane that is conformed by the two. Yes. And the invisible eye between them. I take the middle by tracing the x. After that, I consider a progressive distortion for each inside plane, where the closer eye to the viewer is a bit longer. The invisible eye between both of them and the last one are a bit shorter. That's it. Just proceed to place the ice based on the right proportions from the guided sphere eyebrows. Placement is now very simple. They should also be affected by the way you locate the ice having the same length or just a bit longer each. This technique is pretty much the same for front, three quarter and three front angles. But if I were to place the ice on a two quarter or three side view, there is something a bit different that you should consider. The heads form is more similar to a sphere than a cube. The frontal plane, where the head will be placed, should also be considered the same way, like a curvy plane. This is not evident on front and three quarter views, but it definitely is on two quarter and three de side views. Considering this curvature will change the way the farts eye from the viewer will display, which is going to be fitted inside a much shorter plane. 12. The Nose: We're getting a specific into the facial features. The time for the nose has come, just like we did with the neck, It's very important to consider almost everything volumetrically. Here's the way I think the volume of the nose works. If simplified, please draw a side draw. You take a real grasp on this subject By first knowing the front and side views, we can easily infer the three quarter and two quarter views. Top and below views are also a great way to make sure they will be both well drawn. The key to consider when drawing the three quarter and two quarter views is to change the degree of the central line. The nose has a other forms based on that. The more the head rotates, the more the central line will change its degree to finally match exactly like the side view of it. Knowing how the volume should be working, it's easy to properly place the contours of the nose and nose trills and perspective. You've seen me to place a tiny line that is in the middle of each eye and that connects to the nose that is located at the eyebrow height. I'm sure you have taken it without explaining it as just the correct contour of the head. It's very likely you went ahead and drew it too. But you might also be wondering what's the origin of this form and why does it work like that? Here's the answer. Right, on top of the eyes where the eyebrows are placed, there is a volume that, if simplified, can be considered like this. Imagine a very elongated pyramid that if following the curvature of the head will be folded like this. See how here I attach it to every main view of the head for you to understand it better. What's important over here is that this shape relates to the nose as well. The nose connects to the downplaying of this form, which starts almost in the eyeline. The line that we use is referenced to place the eyes, it looks more like a human head. Now, don't you think? 13. The Remaining Features: At this stage of your drawing process, I want you to get things as progressive and as simple as possible. The remaining features of the face and the head are going to be learned as shapes in perspective rather than three dimensional forms. Yet we will definitely see that on literal classes. But for now, let's just finish the easiest way to correctly draw the features on a simplified and stylized style, like her beloved enemy. One, placing the mouth shape should be done considering the curvature of the face in perspective and the proportions of the shape over the face. Remember that the mouth, if done proportion, should never go farther away from the width of the eyes. The ears are pretty much the same shape if considered in front and sibs. The only thing that changes is that the ear shape end on gates and inclines opposite to the face. Just a bit for learning how to smoothly draw the hair and hair styles, I want to make another complete class since it will be full of a ton of new information. For this class, I'll only show how to locate the main shapes of the scalp, which is the limit from where the hair grows on top of the head. Guide yourself from the front and side views. See how the side part of the hair correlates directly to the side chop planes of the geytosphere. Also see how the frontal shapes we see on front view are also taking the curvy form of the head. The last thing that I want you to pick up is to freely modify the form of the jaw, chin, and cheeks. Depending on the style that you have or you'd like to learn from other artists. It can be Chavier, more squared, curvier and pointer, stronger and pronounced, et cetera. Observe from other artists and come up with any style that you would like to. This class could be perfectly being craft, not to include the deepening in perspective drawing. I intentionally choose it to be that way. Drawing the head properly and multiple angles without perspective knowledge is not a recommendable thing to do because you lack of very important knowledge to properly draw the head on very different angles. It's my duty as a teacher to effectively guide you to the path that will take you on the long run to understand this world as best as possible so you can be able to express your ideas and yourself as freely as you can. 14. The Class Project: Let's make our class project I crafted to put in practice all of these class teachings in a very practical way. As you will just do it after a finished class. The first thing to do, post this video. Find a couple of pictures of a character you would like to drop from your favorite anime or manga. It can be a male or female, to make sure to have at least the front inside views of this face. And if possible, an angle view to when you have them all together, come back and let's continue. Nice, Welcome back. Here we have my reference pictures. We need to analyze the shapes and the details of how the artist behind the character designed it. Let's start, see how I analyze each individual shapes that I consider relevant. The ones that make the character look how it looks, especially on the eye shape. I make sure I observe how front and side views are working together. At this stage, I'm not thinking about three dimensionality, I'm just making sure I get the curvatures and the angles of each shape for me later. Place them on perspective. Now I make sure the proportions are equivalent to the general rule we've learned until now. On the face, big one, that seems to be on the horizon and not above or below it. See how on this character they perfectly match. But if it's not your case, then make a new statement to yourself on these proportions. Having a new guide for you to locate the features and needles on top of the sphere guide that corresponds to the guides that you just analyzed. Let's begin now with the drawing. Please follow me as I go. I'll be using the mechanical pencil this time. I won't add any color to the drawings. So use the pencil as soft as possible because we will be raising the guidelines later. Start with the guide, the spheres, adding the inside and the chop side plans. Make sure you have drawn each angle in the same size and order. I'm doing this is because I'd love to see each student's class project to have a regular pattern to look at. Notice on put in the name of H angle above, so you can identify how they correspond to the location of the plane of the sphere on perspective. Allow yourself to go, as I go pause and rewatch the video as much as you need to absorb all of the given knowledge. And if you would like to go with the same character as I go on your first try, it's fine too. Of course, it's not going to turn out perfectly, neither to me. So just keep on practicing. The more you do it, the better you're going to become at it. I'll be waiting for your class project. I truly want to see your progress. 15. Using Reference: That was exhausting, wasn't it? We have just supplied everything we just learned throughout the whole class. Wow, reaching up here is a great achievement. Good job. Now our last topic to cover for the classes, how to use reference when it comes about how to draw the human face at different angles. Are you ready? Let's check then some examples on the topic. Remember that for this class as well as for this video lesson, we're just focusing on how to draw the head on the face on its rotational align to the eye level on perspective. Any other angle that goes above or below the horizon line or eye level will be safe and reviewed for other classes. Keep that in mind. The first and most common use we can give to a reference picture to draw ahead at an angle is to simply use it to estalze. We can start by first finding the angle the head is facing. If you are working with digital media, you can try to sign a lid above the reference picture. Or if you are working on traditional or an allove media, you can just go straight ahead to draw it on your canvas or paper. Finding and drawing it. You can proceed to start adding the details for your drawing based on the pick preference, but now just transforming it into your own personal style. Just like we learned on the previous phase drawing classes, this is the time for the fully stylization of your reference. We focus on creating something by copying and modifying the copy to our preference or personal touch. We do not focus on creating something totally new from the imagination Break. Now the second approach we can give to using our reference for drawing the head at angles is to draw first the base character in the angle you prefer, from the knowledge you already learned from the class. To then add the elements you want from the reference. Focus on doing it first by applying construction from imagination, not by directly copying the reference we have. We start by first drawing this vertical guideline if needed, or by drawing straight ahead if you have practice enough. We secondly add the simple base of the character we'd like with the style of your preference to turn. Finally, end up adding the elements from reference you wish to add to. You can add the elements from one reference picture or from as many reference pictures you want to achieve the final look you want for your character. Since we haven't learned more about perspective at this stage, it is highly important you try to find the things you want to add from reference to your words, preferably on the same angle of the pose you're trying to achieve. Finding the elements of what you want to add, your character coming from different poses, or angles or perspectives may also be helpful. But depending where you're a beginner or a bit more experienced, doing it can complicate the way you are able to draw it and understand it correctly. Keep it simple and try to draw the elements on the same pulse of your drone base. 16. Final Thoughts: You've made it, you have completed this drawing at Engels class. Thank you so much to have kept to the end. If this class is only helping one person to be a bit closer to his or her dream, I'll feel myself that it was all worth drawing as anything else in life, it's going to have its upsides and downs. What will keep you firm on your path is to always remember your ultimate goal, why you're doing the thing you're doing. On those rough times, when you feel there are unpleasant things to do, you will get through them and you will also enjoy the things that you will actually do. None of these teachings apply to any style. You need to know the rules so you can consciously break them. Learn to observe others work and to feed yourself with how they do their things. You can come up with your own ways. Even if I thought in a specific order for all of these things, grab what you consider relevant and take off what you don't. Switch the order of the steps and do as you please. Just be conscious of all of the concepts and forces that are important to understand reality and thus drawing. The last advice that I would like to give you guys is to get comfortable around perspective drawing. When learning it, take it bit by bit and step by step, no rushes, pressures, and not a lot of overwhelming information. Perspective drawing is a fundamental thing to know if you aim to draw and paint things from memory, accurately, believable and in many angles. Perspective drawing, she will start to become your best friend. Never allow it to go far away from you. Keep it as close as possible. Thank you dads and see you next time. 17. Bonus Video: Upwards Face: Congratulations guys for having completed the class. Now, what about drawing a bonus lesson for making a drawing library even bigger according to the previously learned method? Let's learn how to draw the face at an upward angle, trying it from a basic approach. Please follow the next demonstration by drawing the same as shown on the screen. Though the video lesson is a bit longer than usual. This is a brief version and explanation of how to approach this challenge. So pay attention. Just like we previously learned in the class, we can start by drawing the value of the head as the main guideline. By drawing a basic sphere, we indicate the vertical plane that goes through and inside of it by drawing with a thin line, the axis in the middle. The angle degree of this plane can go 34-2 quarter angles to the right. In this drawing, for example, we won't be going with too much accuracy for it. You can't do it by intuitively calculating it too. Right after the first vertical plane, we cannot draw a horizontal one that indicates the tilting degree of the new upwards angle of the sphere. For this, we can draw the front surface line that describes the surface counter of the sphere in also an intuitive degree angle around three quarter and two quarter towards above it. Notice how to indicate depth. You can draw the frontal surface lines of the plane thicker if compared to the lines of the plane that describe what goes inside of it which are thinner. We now add the chop side planes as we learned in previous lessons, which will help us locate in an easier way the facial features on the overall volume of the head. For a quicker, more practical approach, we will just focus on the one that goes in the visible side of the sphere, which in this case goes in the left. Remember that its depth is different than the overall volume of the sphere. The back part of the plane is a bit narrower than the previous run counter. Right after this, we can add two crossing lines that intuitively go right in the middle of it. The first based on the cutting and the resulting extremes of this chopped plane to correctly follow the perspective giving us the horizontal part. And the second one from a vertical straight in the middle to great completed this bolometrical guideline. We can now use it for drawing on top of more refined counter of an actual human head. We don't need to worry after this about any other technical aspect of perspective, such as vanishing points, more volumes or axises. Right now, our basic guide has already been placed for this exercise is enough. Let's keep moving forward. Begin by drawing angle lines in top of the sphere that resembles the essence of a cranius. Just like seen on previous lessons, the horizontal line of the sphere must match the eyebrows place. We draw visible slide bump that follows along the anatomy of the skull. We keep drawing the counter of the head extending down the line to the cheek and chin. Pay special attention to the red lines that indicate with more clarity, the nature of the counter of the face. Analyze how they show. The counter goes from a straight to round their lines. Try to memorize them to be able to rod this in the future without any guideline. We continue from the other extreme, passing to the jaw and completing down to the other extreme with the chin. When drawing this overall head shape, you need to calculate intuitively the same proportions of the head we previously learned in the class. Although not drawn, the head still holds very similarly these measures, so it doesn't look strange when drawn. You can finish the drawing of this main part by adding a simple cross right in the middle of the face. Basing yourself intuitively on the same perspective that can be seen in the market, tilting of the sphere, seen in the surface lines of the main planes and the chopped side plane. All right, now let's add the rest of the parts including the neck, the facial features and the hair for the neck. Drawing the regular tri color view we learn from the previous lesson holds the same. We think through the whole head for placing it by imagining how the tubular part of the neck attaches from below the head. Then we also draw the trapitious form that attaches later to the clavicles and torso. We use this base as a guideline for drawing. Now on top, the final counter, same as we did with the head shape. It looks cool, isn't it? We can now ad the facial features. For this, our first step is to add the eyebrows volume or form and look alike elongated pyramid that curves around the sphere shape, just like we previously learned. Remember that the key to look forward to is to make it match the sphere surface that comes from the inside plane. We did at the beginning of the demonstration in the middle of the side plane horizontal line, which gives us the eyebrow line. Its width goes from S plane to Syd plane. And its height extends symmetrically to where the eye line is, right in the middle of the overall head proportion. From there and guided by the middle lines, we place the nose shape you've previously learned in the proportion, looking to maintain the symmetry on both sides despite the angle. We are not adding here the measures of the proportion in an exact way, but based on the class's lessons, you should be thinking about it then By considering the same curvatures of the horizontal lines established in the sphere guideline, we draw a rectangular flat shape that establishes the width of the mouth extends to the limits of the alignment of the eyes. Because of the angle and form, we should be thinking about it as something that wraps around to the head, not as something just flat. Get we add the ear shape guided by the side planes, cross lines that do not pass from the top of the eyebrow line. Imagine the alignment of the down part with the end of the bottom of the nose. Notice how the ear goes right behind this middle vertical line on the side plane and not in front of it. We're almost finishing. We add a very simplified shape that simulates the external cleats on the neck with a small bump in the front of the angle neck that shows the volume of the items. Apple. All of these previously made shapes were done in different colors to show how the general structure of the face works. Place incorrect, simplified perspective on the head, knowing how they are all correctly placed and how they relate to each other. To properly work, you can easily add the different counters of the facial features that give the character the life you may be looking for. Based on the little bumps shape, we place the eyebrows based on the middle cross lines of the whole head. We place the eyes in symmetry by keeping in mind the eye that seems more foreshorten curves more into space. Then we have the nose guided by the previously placed shape, but thinking also how the nostril displays itself in this high angle if compared to a regular or horizon angle. We continue with the mouth by making sure we do not exceed its width. With the ice pupil relationship as named before, we keep moving to the ear by adding the inside counters that make it look more defined learned on previous video lessons. So we place the hair line that defines the scalp, making sure we follow the wrong curvature of the spheres guideline and form to finally end up by adding the basic volume of the mass that appears right below the chin and neck. The bit of fat we saw displays, especially in the side of the head. It is up to you and your choosing art style to live there or to choose to erase it. Just know that it exists when drawing. That was a lot, but you made it. Congratulations, we can finally end up drawing by adding the final touches. If working on digital, take a bit of time to delete the unnecessary guidelines or to run your refined and clean version on a new layer on top of it. Then finish it by drawing a cool her style from reference or imagination. And if you want, even intuitively, placing shading that defines even more deforms. 18. Bonus Video: Downwards Face: Okay, same as the previous bonus video lesson. Follow the demonstration by drawing it, The visuals may be simple, but if understood correctly through explanation and practice, your skill will truly start to grow. Otherwise, it will be just visual information or theotical information, not a growing skill. Great. We start by drawing the sphere that will serve us as a guideline, starting with a simple circle, then we add the inside planes that through placement and line work help us define the sphere's direction and form the vertical and horizontal planes. Both go in an intuitive way, near to a three quarter or a 24 degree angle each. This time, the vertical plangles pointing towards the left and the horizontal plane towards below. Notice how in this example, not only our spheres angle has switched its direction to looking downwards, but also has changed to point differently than the previous bonus. Now this one goes to the left and not to the right. This is to simply exemplify that these two new angles can be made looking to left or right direction by applying the same principles over the guideline Completed the guideline. We now proceed to draw the side plane that would help us turn the sphere into a more head like shape by also drawing on top of it the cross that would help us place later the ear and rest of facial features in correct proportion. Drawn this, let's not give it a try to the actual head counter. We start by drawing angle lines that give dynamisingo the shape extending to the eyebrow bump that shows matching the eyebrow line. Then we keep moving towards below, passing to the cheek and the chin. Notice again a part how the counter behaves, shown here in red, so you can have a clearer look on how you should memorize it to know the accurate general roof for. Keep on drawing the head at this angle. See how no different than the previous drawing, our head displays more of its stop lane, emphasizing the perspective that shows its angle. Remember that the head holds its proportion and so that it shouldn't deform to an extreme level that will make us feel it off as it hasn't been drawn with exact geometric measures. You will need to practice this a bit without the facial features until you feel you have gotten enough grasp on its proportion. Now for finishing this part of the lesson, what is left is to add a cross line that will help us add the facial features which also matches the guidelines of the sphere in the vertical and horizontal already drawn axises. Just make sure you don't confuse the eyebrow line with the eyeline. A quick note for doing this is the perspective narrows down the depth of the form towards below. For this angle, the distance between the eyebrow line and the eyeline is a bit narrower than the upwards or frontwards angles. Great, We're more than half way there. Let's keep drawing. Start now by making the basic form of the tubular neck, attaching right behind the head. Notice how it matches right to the side, playing horizontal part in which the jaw starts extending towards below. Continue to rode the tropezod form of the three quarter view of the neck, this time facing the left direction. Remember that these shapes, though not always evident for the viewer, are highly needed for the artist to understand the three dimensional form of what he or she draws. Do not underestimate them. Though simple, they are highly useful as guidelines that later, even if not visible, the artist needs to see. So it becomes a mindset we know the same as explaining the first bonus lesson at the facial features. Trying to sensor grasp in twitty fleets proportions to correctly match their relationships. Always think about its symmetry. And now for this angle, by narrowing them down just a little bit as the depth of the perspective shrinks, the overall form to the viewer. Make these guidelines, we can proceed to draw the actual facial features to give our character the counters style and life we're looking for. If you need help to understand them a bit better, you can always look at someone in this kind of angle or find treaty renders or pictures that will support your understanding. You can now add the kind of hairstyle that you like to by basing yourself on any reference you want, and if you feel inspired even to try out shading that defines your character's form too to.