How to Draw the Head - The Best Way

1. Intro: Hey, has it going today? We're gonna go how to draw the human head. So this is four beginners. So if you have never drawn in your entire life, you just found this. You're in the right spot, so I'm gonna go over what this program is gonna have. So right off the bat, we're gonna talk about art supplies, right? I met with the pencils and paper that I recommend for practice and for finished pieces. I'm gonna talk about just pretty much everything I use. And after that, we're gonna go into really important structure and measurements of a human head. So when you're trying to find a human head, we try to find he's very generic ballpark measurements to just make your head look human. And then you can take that template and kind of customize it to your subject. If you're doing a portrait of somebody specifically, you can see how they deviate from those measurements, and that's how you find their type. Or you can use those measurements to create your own head. So you get a night drive from your mind. You really need those measurements to use them. So I'm gonna go over those on, and that's gonna affect the way you draw heads forever. That is, it's gonna put you in the right path. It's pretty much amazing for that for anything. Then we're gonna go over the features. I actually have other programs on individual features that go into that and massive Jeff. But what I'm gonna do here is I'm gonna give you a quick primer. In case you didn't see those, I'm gonna be very quick run through of every feature of the head so that you have a general idea of how to draw. So that's a very it's a primer. So you should have a really good idea of how to draw the features after that. Um, and then after that, we're gonna go through a demonstration. I'm gonna put it all together. All this stuff up, talking about I'm gonna put it together in the demonstration for you to talk you through it , and right after that, I'm gonna go over the demonstration of the side view. So we have a straight up, and then we're gonna have the profile view, and that's pretty much it right. At the end of that, I am going to have an extra video on art advice. I do that with every single one of my programs, so it's like a bonus at the end, a za reward. But this is kind of the main topic that people kind of get into. Drawing for it is to draw other people, and that's what made using and go over a generic head for you to pretty much having your mind. And you can start practicing immediately, and as soon as you post them on the project section, I will be able to kind of comment on every single one of them. So you're gonna love this. Let's get into it right now. 2. Supplies: Okay, so let's go over the tools and supplies for kind of what I recommend in terms of tools with pencils, I recommend this. Obviously, drawing pencils are not gonna have an eraser on it so that, you know, I they usually come in sets. They come in the hard and the soft. The heart is usually to age. Uh, you know, three age, but we're gonna be is in the soft. Soft is mawr for organic features, like drawings, you know, like like drunk portrait on that is a you know, they tend to do like to be three V 45 bees to be is what used in school to fill in, You know, test forms. Uh, that's a to B. For example, I use a five B. If ivy gets a lot of range in value, you go from kind of very light to dark. I like using that. If I'm gonna use one, we can always use a bunch. Uh, I also use a mechanical pencil for purely sketching because I think it's great and you don't have to actually sharpened over and over again. I think it's amazing tool that you can kind of use for that. Uh, you know, it's not very good because you can't really shade very well with it, because there's so much of a point on it. Shading is done with more the side of the pencil. And that's why I think these are great. Uh, but like I said, if you just want to go through in practice a bunch, I recommend this, uh, you know, any any mechanical pencil? Doesn't really matter. Left. Also, when it comes to Eraser, I use a kneaded eraser right here, for example, We sure how it works? Uh, it's a little bit different than normally. Race are normally, Racer. Basically, this you could take a little piece of it. It's very malleable, like gum. And I think I really love about it. You can carve stuff out. You can actually, uh, kind of, you know, squish it into a shape and then car what you're gonna erase. It's amazing for highlights. Just beautiful. For highlights. I recommend so so Well, this is the best race you get. I don't like the number two pencil. The typical of pink eraser intensity. Stain the paper. So I hate that I'm also for Eraser. You can use. Where is it? One of these. And this is kind of like one long white eraser. Uh, Sadler, but you could use it. It's really good. It's just like the back of these white. So will not stay in the paper at all. So that you love that in terms of paper. Your paper Really quick. I'm using regular printing paper for practice. Okay, so when you practice, you can use regular printing papers completely fine, and you could buy a giant stack of it for very cheap. I think like a dream of I get either regular or I get tabloid regular is 8.5 by 11. Just normal printing paper. Or you can get this tabloid size, which is 11 by 17. Either one is fine. Doesn't matter. Use it for purely practice sketches, Uh, like a giant giant dream of a giant pilot by 20 bucks and that sometimes last six months. And it is what active drawing. So definitely buy that. It's a really well with him for practice. If you want to actually do you know, finish drives the one brain and put up use. Um, I use Bristol board basically Bristol paper. It's a much harder and high quality paper. That paper last great. It doesn't yellow or dull over time on this kind of yellows and golds over time. So it would use this finished stuff. Um, yeah, that would be my recommendation for paper. Also. Anything you hang up, keep it out of the sun. The sun killed everything. Son has killed paintings of mine. And so if you hangs up enough, don't put it in direct sunlight. It will get destroyed, will fade very quickly. That's pretty much it for tools. So let's move on to the next thing. 3. Structure and Measurements: All right, so let's get into some head measurements, Some structural points that I think are extremely valuable on learning any type of head. So what we're gonna do is we're gonna go over some ballpark measurements. These measurements are generalities. These are meant to get you in the area. And you kind of customized them to the person you're drawing or the type of person, Dr. But do you think this all the time from people that don't draw? Oh, like measurements? No one falls into those measurements. Yeah, of course like that. That's something that doesn't draw that says that or doesn't draw. Well, um, what you should do is that you find that ballpark measurement, and then you adjust it to, like I said, whoever you're doing it. So you just have make sure it looks human. Uh, so let's kind of get into a couple of different things. Number one in terms of just straight how to start, you can start with in two different ways. You start with a circle and then draw a straight lines down center line and then extend, you know, kind of a circular line down to get like a joshi you can do that or you can just do a little oval shape and that draw a straight leg down for that to get like a general kind of something that place on the paper. You could do either one of those. One thing you know, it doesn't matter what you do. You could even start like, just you know. But I recommend starting with something because then you have a framework to build upon. That's the entire thing. I wouldn't I would never start just drawing in like the I you know, and then going to the nose and then you have to start with a framework or you're just going right off the page. Your measurements could be ridiculous. You want a kind of a bird's eye view of what you're drawing as you're drawing it, so that's extremely important. You can if you're, uh, in a very advanced person or you just doodling for yourself like your intermediate or advanced. Of course, you can start drawing whatever you want, but in general this is how I start drawings even now. And I'm extremely advanced. Um, so that's one cool structural point. Another thing is, we tend to do things in, Uh, what do you call it way? Tend to do stuff in layers or life. In a way, I kind of think of one thing at a time. So when I start drawing, I draw things like this Like just round to get stuff on the page. Measurements. You know, you think of them in steps, you start building upon it like what you would a building, right? So if you build a building, you bring the framework, you then you pull a nice stuff on top of it. You don't just go right into the details. It makes no sense at all. You have no framework to build upon, so that's kind of the way drawing is. You think of it within measurements first. Then you know, maybe some smaller details and then smaller details and then shading. And you just keep going on you build on top of that framework. If you keep this in mind, this is gonna bridge everything you draw forever. We will always think this way. Okay. Or don't forget this. Uh, so let's move on to, like, another measurement. Eso Let's think of a generic head measurement here. Paper around just think of it. So if I was drawing, draw a circle here and we're drunk without front youth, head draw, center life. So the thing about um, thing about the head is generally, uh, this kind of a tid bit like a little a little bit of ah, side fun fact. Uh, generally, you don't want to draw the head straight forward. Straight board is for kind of what you're doing. Character designs and things of that sort, Usually an animation or in portraiture. You tend not to draw the head, like from a straight front. You get em street generalities here. The reason for that is because it's just a mirrored image. It's like mirrored image from right to left. That's why you see almost every portrait. The portrait tends to be kind of a little bit 3/4 view. You know, facing a little bit to the left or right. The's just makes it more interesting saving with animation. I know we've things like The Simpsons and things like that. They hardly ever have them facing completely forward because it just looks strange land. Uh, you always want them in a 3/4 but right now we're doing is going over measurements of need to go over front, Of course. So let's just say we have our head shape, right? This is our headship. Go to the top. And if you mark off the hairline, I'm not saying this is a house, too. By the way, you don't even have toe go along with what you want to do is you want to kind of remember this. So let's draw Ah, a line of top of the hairline and what I mean by the hairline. I don't mean what I don't mean is the actual hair, because you could be drawing some of that bald right. That doesn't make any sense. What you want to do is it's actually the point at which the top of the forehead starts to curve into top of the skull into the top of the head. Right that point word starts to slowly turn that middle of that point. That's the hairline, right? And so right here in the bottom of chin, when you want to do is you want to divide this in third. This is one of most common common measurements and drawing, so let's divide the front. These words generally, right? There's alright. Pretty good. Draw a line across, draw a line across year. Just give you a little bit higher. Honestly, let me that. Yeah, that could be a little bit higher. I'm just gonna I'm gonna put this a little bit. This there's a little bit higher up so way divided in thirds like that again. What we're doing is trying to find ballpark measurements trying to find basic structural points. And this is the brow line. This top third. And this third is the base of the nose where the nose attaches to the skull, not the tip of the nose that were attached to the skull. And that is pretty true. So again, what you want, You want to take that? And then when you have someone like lets you during a portrait, you want to see where they deviate off of that norm off of this bland skull and you want see where they deviate. And that's how you start getting their type, their face type. And you're gonna hear that term a lot all the time. How do you get tight meeting? How do you make it look like them? Uh, so right here. So the brow, of course, is top of the eye socket, Usually with the actual eyebrows sitting right on them. We have these. Listen, you are kind of generic eye socket shape. And they said it's basically knows. Right? Uh, one more thing. Usually as well. The top of the year is gonna be hitting these thirds and the bottom of the year. So about president years, usually they're touching that top there. That bottom third easy stuff, right? Totally easy stuff to remember. Give me that really quick basic stuff that if you remember, this will change pretty much important forever. They really will. Uh, what's another measurement? Two cylinders down here. I generally as well again. I was gonna say that word a lot, generally, because people are so unique. And when you look, they're also not for you. When you look at people's faces in a lot, of course, a tremendous amount of similarities, I would say the center point of this I pulled down line downward center, point of the eye socket, and suppose we're gonna hit the edges of the mouth if you do that. This was so tentative because people this changes so much with opening the mouth is, uh, another measurements would be So the eye socket if you watch my program and I highly recommend that I am course gonna go over the features in this, But they're gonna be very quick if you really want, like, the full flashed out information on each feature. Go to my other programs on here. I'm gonna talk about, you know, that particular features and mass detail. Right now let's go real quick. The eyeball fits into the eye socket, not opening the I. I'm in the eyeball, actually putting the eye socket. So if you would take that measurement, you could fit an eyeball in the center of your pulled him across the head. Could Fadi eyeballs like And you also spit in eyeballs length out side, like counting the here, including the year. It's about five eyeballs wide ahead. I honestly don't use that measurement all that much. I usually do use it in the center of the I don't use it on the outside very much, but it's something to know, and it's something to use. What we're doing here is we're giving you tools right to use pick the one you want, Fix someone. You know the ones you don't want, what works for you. Use it. Maybe one day you're gonna draw your own. Now I can use it. All right, That's another measurement. Let's look at the side of the head really quick. I think that's did for the poor in terms of measurements. Let's look at the front on the side of your head around here. So we're looking at the side of the head struggle. E almost always start with that circle shape on the science pulled down. So there's a head and profile of you to call it. You were gonna like a county fair. They'll cut your profile out. You know, like little black paper profiles. Much easier to draw because you're not dealing with, you know, kind of evening out the eyeballs in a left, right for the inch of the mouth and the nose, the wings of the nostril. So the back of the jaw So So what? This is actually we're gonna get to one of the most common mistakes and all in all of head drawing all of it. This is one of the most common mistakes. If that's the most convincing icy while teaching people tend to draw the back of the skull much smaller than it actually is. People forget that there is a brain case in the skull, right? There's a brane. So, people, whatever reason, people just kind of like doodle some hair in the back. They don't They don't draw the back of the head very big, which is supposed to be, you know, like old. So if you're, like, think about the cranium, just think of the cranium, uh, itself without the jaw of the front. You just think of the cranium. Think of that in half. Right back ahead. Here, persons are subject facing that way. Jaw is gonna be a little bit around, like right around that area. Halfway. That's what jaws did. Come on. Okay. And then you got all the back of the skull here, and what usually happens is, you know, the muscles of the muscles of the back of the neck. You know, the trapezius and all of that that connects over there. Number. It's on camera. That's kind of what that fills in. Great. But that job oh, is halfway. A lot of people draw the job way back here and that's incorrect. And that's short cutting the brain. It's like that just doesn't make any sense at all. Forget these mumbles or back here. So same rules. So we're gonna get 2/3 top of the hairline, bottom of chin Divide that the third year roughly right now. Yet there's I think you could get a little bit higher, actually. Anyways, get the brow straw, that eye socket shape with nose shape, the bottom vase that knows. And you have a two cylinder. So one thing about, uh, I think I threw the one second let me move that up a little bit. Think I drew the brow a little bit shorter than it should have been like that? I saw a little bit lower, moving up a little better. So the ear itself angles and this is also the year program. I talked a little bit. I'm gonna touch on here. Be here, is right on the back of the job. So it's centerline center. This angle's a little bit. It's not gonna be straight completely straight upon this line right here. It is gonna angle in a little bit backwards. It is gonna be in that turds. So that year will be placed that thirds in that half and lily back. That's also extremely important. And that will be get or just structural head kind of measurements. Those with the most important ones. Just remember those. There's not that many. Let's go over them really quick. Okay, let's go back through the whole lesson real quick. Right here. You can start with a circle, or you could start with, uh I'm sorry. You could start with global shape. Start breaking that down. Or you could start with this circle and extended down to the Joshi. Either one is fine. You could do your own. Maybe start with little squares, do whatever you want, but these, I think, are pretty safe to start with. And you want to start with them very lightly. You don't really want to commit to these lines. These are all again measurements, By the way, in terms of this measurements here split the head of the thirds. You have a top way at the top. Right here is the hairline. The hairline is not where the actual hair is. It is, or it could be. But it is where the front of the forehead starts a curved into the top of the head. Then the top third right here is top of the brow. You know, the brow like I brought area, and then the bottom third right here is the base of the nose of the nose touches the skull and then this is the chimp eyeball itself. This is my pockets in between. There is an eyeballs kind of length in here. Generally, of course, I've on the side and on the U. S. Central. So the head is five eyeballs length across, and then right here, if you take a cent of the I you goes downward, you find the edges of the mouth in terms of the up and down section. Here, it's, you know, there is a measurement, but I think that's so big. I mean, you've been kind of what I've heard, and I'll say it right now. I guess I'll add on this one is you can split, Let's say from the chin to that bottom third, you could split that into thirds, and that top third is the opening of the mountains. But that changes so much. I like I said, they all do. But that one really does. So you kind of take that with a grain of salt. It's like, maybe like a top third. Uh, and then you could say this bottom is private. She an area this bottom third is on top of that. Shin of the year fits into that middle third. Usually, Uh, then we're gonna go over here to the side view side view. Uh, right here, Remember, biggest mistake ever. But now you're not gonna make it anymore, cause now, you know, give that person some skull, give that person the back of the skull. People turn to draw in front of the face and then doodle some hair behind it, and they just missing the back of the skull. There's a brain case in your skull, so there's gonna be it's gonna be doing. Don't worry about that May seem big, but the muscles in the back of the neck that the general musculature of a person will fill that in. And if you look at people started looking at profile, picture that people who already have, like, a shaved heads, they have that little back to the Stoller hanging out always uh, it's just the way we are and always like super musculature. Barely see it, but you still see that bump right here. The ear angles slightly. It's not just completely straight up, the year the years angles slightly back. Also within these thirds on. That's kind of it, for this lesson ingrained. Those commit those. This is like the one no one like the basics I uses every time, every time these measurements I use for every head I draw and I draw. I've drawn like a 1,000,000 hundreds of thousands of heads. Uh, so this is the base and you're in the right spot, so let's go on to the next lesson. 4. Facial Features: So what I'm gonna do is I'm gonna go over a quick primer of the features. In case you don't know this or in cases your first program you're watching. What I highly recommend you doing is going back after this program and going to my other programs going over each feature individually in mass detail. Okay, I go over the I every measurement about the eye nose intervention with nose, mouth, everything. But for this, I want to give you a primer. So you know where to start. I was gonna be a couple of little tips on each one just to kind of get you started. All right, So let's go over really quick. I really eyeball first thing you don't want to do. You do not want to do the typical I which is this almond shaped. This almond shape is so prevalent and common it is. I don't know what that is. I think I do with maybe higher Olympics. You know where they do the you know, the cool little. I think it's even and most realise or not like that, most realize tend tohave again and generic shape, and then you can alter it to whoever that may be. What you want to do is you wanna have So let's just say you let's just say this is, uh here's another old man, I That's a, uh No, What you want to do is you wanna have peaks. So the generic if your toe generically draw the I would have these kind of diamond shapes is a peak for the upper inner portion antique for the outer portion, and that tends to make it look much more realistic. And it just it is just the way realize tended to tend to go more again. This is a generic. I not, You know, every single eyes do that. So the shape it is so much more realistic down here, yes, is so much more realistic here, then the one of their. So that's right off the bat. There's like, this little or peak, and you can turn it into an organic shape, right? You think of that peak right there. If you're thinking like a block, but you turn it, you make it organic. So this is how you're thinking about it, this shape and this is how you're actually doing it. This is what's in your mind is kind of what comes out of paper. A little bit of P c on this edge, but you we round out that bottom peak. That's a huge one with the I in terms of the eyeball as well. The eye is the eye socket, so I kind of remember that as well is the eye socket I'm sorry. I suck at the eyeball. Me, I'm all sits in the eye socket and what you're actually looking at when you go into the eyes, you're actually looking in that you're actually looking at the opening exposing thing. I you know, it's kind of opening to it, but there isn't eye socket behind that. Just knowing that makes everything better and more dimensional. And it knows kind of what You know what you're doing. In other words, it doesn't look like a flat sticker anymore. When you do that, you kind of like pinch the sides of the high over here. You have all that's gonna curl in on itself, and you're gonna have the teared up to the eye, which again, that's all the program. But this is just a vague just stuff to get you started eso the eyeball is sitting behind her. That's that's again something that you know, But you don't really have to draw in, but it will come out drawing like you start curbing these edges just instinctively when you , you know, in the end of the I. So in terms of the eyeball itself, measurements real quick, real quick if you wouldn't have the eyeball to stick the eyeball itself divided in the thirds. And then you have the people on Iris right there. Measurement. Divide that. So that's the Irish divide that into thirds and you have the actual people. So that again is going to be opening over here. It was clear it's not looking out, and that's a primer on the I. One more thing I turning on profile view in the when someone's looking to the side in old hair Olympics again. I don't want to take on Those guys are great, you know, Uh, but like they would draw the eye facing forward anyway, you know when that person is facing to the left, you don't want to do that. So I it looks more like Pac Man facing one direction. I think I lived there again. The eyelid is actually part of that opening, right? It's the cooling up as open the eye open. But remember, I in that side of you look more like this over here. But like people, not hers, right there. It's gonna be an opening. Then you have knows and all the other features over here, right? It's gonna be this eye and then the eyebrows go right above it. I'm pretty simple again, kind of simple, but I do talk about it in that program. Go watch that programme separately. You know it's on here. If you were watching this, it's free because you already, you know, part of part of skill share. So let's move around. That's I. Next, let's go over really quick. The nose. The nose is generally a triangular shape, of course, right. So I like to think of it in a simple, blocky form. I like to think of it kind of like this, like a simple investment if a nose facing slightly that way. I always think of it as a block or triangle or, uh, you know, just something some geometrical shape because the nose probably the most geometrical kind of feature we have, you know, make it like a block or carved out of wood, right? So let's just say that's the front view front. Um, Missy 3/4 view. The 3/4 314 was likely the left, like the side view, would be kind of that the nose. Extremely, uh, extremely. First, it's not that versatile. I was gonna say there's flaring of the nostrils and things of that source. But thinking about it like a block is the first thing. Uh, if you were to think of it, let's just say Let's go straight to the side view knows itself. It intends here, usually hang down the leveled or having upturned nose. So let's say this is like a normal ish knows, Let's say the first facing that way, facing that way, their nose right here. I'm about normal, but then you have an upturned nose, which a different person because upturned nose right, it's still connected the face like a tractor beam outside even upturned nose. And then you also have to do one behind here, downward kind of hanging, which knows I kind of have a little bit not hurt, but And these can like for example, a downward hanging nose can hang over the mountain, actually, So in pictures, kind of seed and sometimes upward upturned is very obvious. Doing it up, turn one and then kind of leveled out. One is kind of the one that using generic, you know, legendary pictures again. These are all general general types that you're looking for, and then you adjust because there so many different types of noses features. Uh, and that's kind of the fun part about it. Uh, one more thing about the nose. You want to remember that the nose itself is half cartilage, half bone. So, for example, if you have, let's say the gonna put like, I try to make it like, here's the eye over here, right? What you say that's our eye on this person is looking inside of you. Let's go over his schnoz and nose. The skull itself is kind of part of that knows, right. The skull itself is if you're see a skull and has a little notch of top, and that will be usually that top part of the nose. But the bottom of it is cartilage. Which explains why it varies like this over here. Sometimes it's an even knows, like hang superglue, super low and some really high. It's what that's dictated by is dictated by that cartilage section and that Carla different , malleable. And so another thing is, cartilage gets longer as you get older. So as you get older, less they like into very like senior citizen age. You're the car, Let's get growing. Things would have heard it. You could hang so your nose can get bigger as you get older. I've heard that it's pretty true. And same thing with the years. The ears are cartilage as well, and that again and hang lower and again. That's kind of part of the standards of being an older person. So remember that half of that is Bones David half really, it depends. I mean, I'm just gonna generally say half of the top bridge right here. They call it the bridge of the nose. Half of that is bone in half of that is cartilage, and the cartilage dictates how you look. Um, that's kind of it. Like I said for this little primer, I think that's enough. Just knowing it's a geometric shape, knowing that I can hang up and down. Uh, you know, uh, that's kind of that's kind of really all you need to do to kind of start kind of drawing this. What I really again recommend is go to my nose drawing program that I have on here it is again, free. You're watching this. That means you're already able. You have access to that. Go watch that now. Or you can watch it after the entire program. I go over everything. On that, I go over the falls, in the ball, the nose over the the nostril. The player, you know, other little little measurements. But this is good for a start. Okay, so let's move on with the eyes. Nose. Uh, let's go to the mountain mouth itself. Another thing is, you can draw just kind of like a line. Absolutely. It depends what you're doing. An animate that will work. But we want where we want to know more about it. We want a mome or about drawing a portrait like, more realistic. Because if you know how to draw something realistic, like all the parts of the realistic lips, then you're gonna be able to draw that single line like easy. And you know what your indicated, right? You know what your indicated? So let's go over the mouth really quick. The mouth. Uh, if I was saying with so again, let's break up the mouth straight forward into hearts. I tend to break it up into if he's to mount, shapes the top, right, Got part of lip and, uh, connect those mountain over here with a line and in the bottom part tend to be made up of two of these back pads in the initial break up can be one large kind of shape at the bottom , but that shit usually breaks up to fatty pads. Here, get generic. Uh, like, just a generic human type we're looking for to find the differences in pieces. Uh, so that's how I start. Usually in my mind, I think about this. So how is that gonna help you? Also, what you can do is with that you can find something that we call the Cuba's bow shape. That top lift will get down, comes down around the edge, and that's what the edges of mouth touch. So right now I'm going to parts of the lips connecting it That looks like a Cupid's bow on its side. That's kind of we call the Cubans. Bow shaped. They were to build and roll quick find model who live here, the two bath hands. We can kind of merger with the one sometimes again, depending on your type of the person you're drawing or text that you want and that Cubans boat Tom and you have the shape of the bottle that usually just the castle with the shadow underneath, it might be sticking out. Uh, very, very, very expressive, Right. I'm gonna go over one day in the future. I'm gonna make a kind of expressions that you know on how all these features change emerge . But this is all you really need to know, honestly, just kind of keeping both shape. It's broken up into, like it's a really three sections of the top. Some people like to break it up into more. You don't have to already that you have the ability to build trump for you. What's called for the moment. But that little div it kind of dipped shape at the top of your lip like like above it. But that's, you know, for the most part. Remember that to the left, let's say for a draw this lip inside of you, you can draw also these two little mountains relatively simple. Uh, you could drum parting in a line here right back your pinches, where the actual like live ends. You know, they could have, like, just kind of give a quick representation in the nose of years persons facing that way. But the lift. And so let's talk really quick about the size you tested, Eli. Honestly, like three types for I always see all the time. You could have the overbite, which is very like I don't have that Simpson's for that. Top Mountain is much bigger again with facing this direction. The top mountain is freezing decoration, or you have what I have, which is I haven't under bite, which in the mountain, and they have a lower lower John really, is what's moving. You know, the two cylinder Ford and that pushes your lip forward. Chin is all boards. Um, I actually get that. I heard that's like a dental, uh, not just, uh, yeah. So usually have two mountains for the side view right here. You have kind of over bites and under bites Chin onto that one. Very, very. I've drawn it. Basically me right there, Drawing myself. That's all he related to know again. You can represent it with a line besides the mouth of the end again, this is just a primer. I'm always gonna remind you through this, in case, you know, uh, reads like a what the heck? That's kind of again, a primer, a start to this feature again. If you want to learn way more about this, I really, really recommend going to my mouth drawing program. And I go over kind of what the sides of these cheeks are kind of like. What is that ball like, Is there like, what kind of shape is stopping the opening? The mouth? I go over how to break up a lot of this stuff. Yeah, that's kind of primary. All you really need to know. Let's go with that quickly. Right here. The top lip is broken into three sections. This kind of made it triangles more less. You could make that exact shapes into the Cubans boat shape for drawing purposes again. You don't have to draw it like this. Just a visual ization kind of thing that you keep in your mind. This is understanding right here. I'm almost never gonna draw like that ever off. What I'm doing is I'm understanding the shapes that make it up and then I'm usually drawing it, like in this Cuba's bow shape. This is structure, this is style. And I gave you a tiny, tiny bit of boat. Just kind of give you a taste of that again. These fat pads here, these little balls in the bottom of the lift. That's what kind of it ultimately comes. But that kind of lends to this feel. This right here is the dip, these two rounded forms. In my mind, I'm thinking of these two couches stuff together. But what I actually draw is that like I like, I draw this right here. It's kind of like a more beautiful version of it, like a prettier version of this mechanical stuff. So this is mechanical and organic right here. Amount. I think the two mountains for the left side, under by, over by just neutral. Let's move on to the ear and after the ear, that'll be a big hit for the quick. The feature is run actually uses in paper. But this kind of showed on the side over here. So the year really quick. This is fast because the years are private least years of least expressive. Usually, you know, unless you're like your or your some sort of animal. Uh, but usually they're the least expressive. So the year human here And actually this is the thing that most people kind of like don't want to learn for whatever reason, that year isn't as pretty. It's not like the eyes were in the window to the soul. It's not like expressive mouth. It's not like a cool nose or something. It is just the year that's kind of stuck in the side of your head. It just needs to be there. But you would look weird without it, right? So you need it, and people kind of always drawing the year. I know. So the year itself can be, you know, simply put down into a inside. Ignore that line. It could be a Western work shape with a why stuck inside of that could be you. You're starting off point. It is like again the shapes that you think like a why shoved inside of a question mark shape and you more or less, You know, having a year after you kind of integrated in their, uh But yeah, that year is literally that I've always, always think that even for the years I've drawn now I am always thinking of that form. I think that overall question mark shaped, but then I'm picking my points over here of where I want to indicate where they really come on making them again. Structural, right? The question mark shape. And then with a why a little like a wide old curled up inside there and then right here of what I'm doing is I'm making it organic. I'm thinking of that. And then I'm like against making really thes. They're just ways to simplify and understand the shapes that were kind of looking at. We're looking at it, identifying it, and we're saying Okay, we'll be easy to remember that shape. What would be an easy form? Okay, cool. And you're trying to translate it to some of the doesn't know how to draw. Uh, and that's kind of the best way to do it would be through comparing it to other things on that. That would be like a best best warm of that. But, uh, yeah, more like this. And there's many different kinds of ears, but I would say years in terms of like getting the type of year like, Oh, that's not their here they probably are not gonna do. You usually do that with the eyes and the nose. So learning one type of year is probably gonna be. And now you know it's really up to you. Yeah, that's kind of it. Thank you so much for sticking around this long over for kind of watching this. Uh, this is a primer of all the features. I highly again highly recommend you go to the programs that I have for each individual feature cause that I really, really go over it and thats gonna in grainy in your mind and it's only gonna make you much , much better when you watch those programs. But this is a primer. If you kind of fall all this way, you should have, like, a big, pretty good start. You know, you do little little something. So now let's move on to the next part. Let's get going 5. Demonstration of Process: All right, so let's start off with the head in the front view. So let's start off with a circle right here. My draw, a straight line down, and then I'm going extend the circle down for the jaw. I'm not trying to too hard because I wanted to be erase evil. This side's a little bit bigger than that site, but that's something I can adjust as I go along. I'm gonna put a line at the top, like before. It was the hairline, which is where the head curves back into this upper skull that I'm gonna divide right here in upper line right here at the bottom of chin. And we'll divide this into thirds. It's kind of giving an approximation. Doesn't be like go through and, you know, really measured with a measuring stick. But if you want, you can actually take your pencil and give it a kind of brief measurement like that. Don't take it too seriously. Draw some lines across, and I'm gonna put some shapes for the eye sockets. This kind of ah placement sheep and I tend to put like these squares with kind of rounded off edges you can put anything you want. You can draw just street boxes if you want. I like doing that because I know the nose. The nasal section's gonna be in here. Good. Draw downward. Uh, bottom of the nose area. There's a sloping section from the bridge of the nose into the cheeks. And that's kind of what indicating here. With these lines, I am going to put in some shapes right here. Simple shapes were thinking simple the whole way for the ears. Just some simplistic kind of box shapes that relatively kind of look like years. And after that, I'm going to go into the mouth, and I would draw the line across the mouth. Like I said in the other video, the previous video you can, actually, if you want, you can divide this little section here into thirds and then, you know, vaguely find the lips of the top one. Like when the top third, if you like. I don't use that measurement too often, but you can the jaw, the sides of the John. A generic face right here. Uh, I tend to do that on that third as well. From downward to the chin. Remember, this is a generic face. I'm drawing this completely from my mind, by the way, and going over here draw kind of frontal, front of the forehead that attempts to be on the edges of the side of the sides of the eye socket. I'm gonna go over here and kind of a justice shape of the top a little bit. Gonna make it a little bit lower. Maybe a little bit, slightly flatter, more organic at the top. So it's not just like a bold his head in terms of like, it's not gonna like an alien head. It's gonna have, like, a around and then, like a bit of a flat section of here, round out again and flat on the side. Let's go over here to the I kind of put a placement here for the eyebrows, and I am going to mark where I want to start the eyes. I like to mark that, Like where the cheered up is gonna end. Pull up the almond shape. Nothing. Sorry, not that almond shaped the peak over here toward toward the center on the top I was set up before is like a peak. Then it goes downward toward the edge again. Just a generic eye shape. I'm going to start with a left because I'm right handed and then try to mirror that I over on the other side, Linkin gonna give, uh, have been eyelid. All right here, the people in Iris drawing that coming together. I'm gonna fill that in as one right now for this demonstration. Kind of right here. The tear duct kind of like into the back of the eye a little bit, but not gonna give a full blown bag of the eye but kind of this section right here, because, remember, it's shoved into an eye socket. Will have, like, a slight kind of ah, from from the I into that kind of bag of the I section will have a little bit right here to make it look in in the, uh, in the eye socket. You know, like the skin is folding a little bit, and then I'm gonna put eyebrow right here, but I'm gonna just make it Ah! Ah, strong shape. You know, right here with a side of my pencil. Pull it up and I'm slowly bring it up right there. I'm not just pushing it in and one stroke. I'm actually kind of giving it some values Lonely coming up. And it's gonna is gonna follow the eye socket over here and around around in just a generic eyebrow. I'm gonna go on the other side over here and try to mirror that I as close as I can if I was starting on this side to be hard to merit because I have my own hand in the way of myself kind of being able to see it. We're here doing all same steps, finding, uh, that people in Iran says one shape. I have to be careful, though, because I don't want to make him look cross eyed. A little bit of, ah, peek at the bottom outside corner of this of the eyes could pull a man going over here, the eyebrow going downward into the nose. And so, as I'm doing this, I'm going to again take my kneaded eraser. Remember the via the gum like eraser. There's also something called a gummy razor by the window, but I don't really like it. It's harder do. This one has, ironically, the consistency of gum, and it's not the gummy racer, but the needy research. I'm gonna erased the construction lines as I don't need them anymore as they fall because it's similar to, um, I don't know, crutches. Maybe using as a crutch these construction lines because, you know, they're self made by your own mind and use them as a crutch and as they fall away and you can take him out very similar to scaffolding, you just kind of take them out as you don't need them anymore. Putting a little bit of value between the eyebrow and the eye lid because there tends to be a dip right there. And light tends to not, you know, not be is exposed there. So it's just some value. So I throw a little bit out there going in, finding the bridge of the nose, which is obviously the yeah, hard, long part of the nose, and I'm gonna go down to the ball of the nose, find that bottom edge of it, pull up, I'm gonna pull it a little bit up a little bit. I don't want the wings of the nostril to be totally on level. I'm gonna pull the wings and also a little bit up. So you're gonna see the nostrils in here and then I'm gonna find the wing of the nostril, both of them on the outside, just some kind drawing just back and forth, kind of in unison. Then he raised a little bit more lines here just to racing a bit more. So as you draw more and more, it's important it doesn't want to practice. Like I said in that first video, it's incredibly important practice because it's not just knowing it. It's actually doing it. You can know every rule, every measurement about drawing of how to get a good drawing. You can know that. But actually doing it is where you're gonna learn to think on your feet when things don't go the way you may think they're gonna go. You like Oh my God, and you can kind of a just and kind of be able to repair these little problems that come up that maybe there's no measurement for or different positions where you haven't really learned about. It's not always a complete rule out of it candy style, but that comes through experience through intuition and intuitions gained through experience. Um, so always remember that keep up practice. Don't rest on your laurels. Don't rest just because you've drawn a certain amount. You just kind of like I've seen that with artists as well, Because you get to a certain point, You guys rest and you get worse again. You know, you get worse. It's like a muscle. It's like sitting in gym doing nothing because you're already at that level. You gotta keep it up. So going along to head over here and I'm gonna pull on the sides of the cheek a little bit started looked like me, which makes sense because I know you subconsciously draw yourself in tow drawings. I'm gonna give him a little bit of a cheekbone, which I don't really have. It's gonna give him a cheekbone, and that tends to be right here in the zygomatic arch, which I'll go over. Another video means really just means a cheekbone, really. But that's the technical term for the skull area going over here, erasing some or construction lines, like here on the nose in the center point. I don't really need that center line very much anymore. I'm gonna draw go down into the field, Trump, just a little kind of ah Kong caves section right below your nose in the middle, right above the lip, drawing in the lift lips. Kind of getting that Cupid's bow shape at the top Bose shape here. That little triangle toward the center of the upper lip going over here, finding the bottom lip. You could make it one large. It's made up of two fat pads, but I am drawing it like has one. And I have a little bit of value underneath the lip because the lip causes a cast shadow. All right, Now, uh, excuse me. Going up here erasing Mawr construction lines. I'm just gonna make him a bold, you know, generic head. I'm not gonna give him, like, a hairline, like in terms of like like he's got a buzz cut or anything. I'm just gonna make a bald head. That's the point. We're drawing the generic human, and you can generic human head to make it look human. And then, uh, that I think I'm gonna straighten up the head. The head is looking a little to me, so I'm gonna give the top a little bit more around roundness sometimes is a bit of a not a point, but I think I think there needs to be a little bit more skeletal tops right here. Small change in kind of area plane on the side of the cheekbones because it pulls in into the temple. So I'm gonna throw that little line right here to indicate that it's going inward. I'm gonna go in the left ear first and, uh, make that a little bit more clear again in the ear. It they're finding that question mark with the I shaped I mean, starting off thinking that way at least. And then you make it organic after that going on the other end, the same again, finding the kind of just looking at the other air, looking out the tray giss Anti trade is over here drawing the neck and the next, you know, it just kind of, ah, average person. I would say it starts within a little bit where the around the jaw, but not totally around the job will make him look like he's really buff. If you want to do that, that's totally your prerogative. But I draw one for again for the sternal clad all Mastoi. It's a muscle that It's a chord that wraps from back of the ear down to the pit of the in the neck, and then this. Usually this other line represents the trapezius muscles that are in the back that wrap up . But that will be in another video for anatomy pulling down. Ever get inside of the cheeks, just kind of making the lines more solid? I'm straightening out these lines here, cleaning it up because being clean is not necessary. But it can help a lot. If you do a drawing that is, let's say, just a significantly strange proportionally like, maybe incorrect if it's clean, if it's a clean drawing, people will tend to kind of let it let it go more often. But if it's drawing, if it's like a very dirty drawing, it's also incorrect proportionally. People just think you didn't know what you're doing, so you have to be aware of that, and that's pretty much it. That is a generic head demonstration. So let's go on to the side view. The side view is gonna be incredibly important as well. The front inside of you are huge. Eso yeah, let's move on to the side view 6. Side View Demonstration: Okay, so let's go over the side. The which is they call profile, view, profile view essentially means just literally from, uh, directly from the side. I'm gonna draw this head from my head, like from my mind. So that's kind of let's get started. Uh, let's go with a circle for And I'm not gonna make it too heavy and too dark because I think it was too dark to be hard to erase. And I'm gonna pull down straight line from the front of the face. He's gonna be facing this way. And then when we do one second and then, um, I'm gonna pull back up for the Josh shape and pulled down the back of the neck here, pull the neck down entirely, gonna throw really simple shapes. And that's kind of one biggest parts of all of drawing. You want simplistic shapes right here. Gonna mark out my thirds. So maybe even higher than that. Use my kneaded eraser like I mentioned before. Mark out a little thing right here. The top of ah, it's a turning form of the head. What is that called? Thea. It's gonna be the top of the the hairline There you go. This one is going to be bald, though that had I'm drawing, uh, and pulled down over here and have find those thirds of top down. Find these thirds. No, look down here. And so I got my third right here. So this is the top of the brow. A draw, a shape for the eye socket. And it's really just like a triangle. Nothing. Nothing too wild there. Whatever shape you find appropriate will be fine. And then I am going to draw a triangular shape over here for the nose pulling down. I'm gonna draw kind of around in cheaper here for the two cylinder, which is essentially the mouth area bulges out of it. And then right here for that is kind of the chin pulling back, making sure from the front of the brow here to the back of the head. So roughly half way is going to be where the jaw ends. And I'm going to draw my shape over here for the ear as a placeholder again, thinking about See that years too high, I'm gonna lower that and then lower the year in general right here all around. So I'm trying to somewhat light the reason I'm drawing somewhat lightest. I could erase it, move around, you're getting a foothold for the placement of everything, and then you're going to gradually move it. I know that I forget was said this in art, but somebody had said that art is just a series of mistakes, pretty much that you correct. And in order to make those mistakes, you gotta put lines down. So as soon as you put them down, then you can adjust them. I think I just dropped my pencil. Okay. And, uh, right here pulling top of the head, I know lowered a little bit. I'm gonna just kind of focus into it. Back of the head here, pulling the backs out a little bit lower erased some of these construction lines as I'm drawing, pulling down, not going to hear the front of the throat. Gonna make the neck a little bit from the bottom of the chin to the neck. You have this kind of underside. I mean, like, kind with that double chin will come from. But no matter how skinny are you will have this bottom of jaw coming forth connecting into the neck. Give a little bit of an Adam's apple. It could be a male head pulled down slowly, like I said slowly, isn't putting these construction lines down? I'm also slowly taking some away the top of the head right in the forehead. I'm gonna slope it back. The forehead tends to slope back just a bit. Pull that there. It's almost like I'm cops sculpting clay. If you have it on sculpture, you're slowly adding and taking away. And you're doing that with the drawing, which is amazing to do, so it feels great doing it. It's almost therapeutic when you do it. Gonna take some construction lines here out as of drawing, this is very similar to the way I pretty much draw like this when I draw anything from especially for my mind. Ah, gonna find the kind cheekbone area here and it's ah, they're kind of some landmarks. Uh, so it's important, and I haven't really done a video on landmarks yet. I will do video entirely online marks landmarks, and I'll tell you this in this video, landmarks are where the bone kind of, uh, you can kind of see the impression of the bone when you're looking at the head. So, for example, the forehead well, sometimes have some lines on it. Those air landmarks, because that's the skeleton dictating what it looks like as opposed to like the fleshy part of the cheek. You know, that's that's like the flesh, Um, maybe the muscle that isn't the bone peeking out a good, a really easy example. Teoh, with landmarks and elbow is a landmark. Your elbow is your skeleton poking very close to the surface of the skin. The cheekbones for some people are landmarks, like, If you're like you're like a gaunt face, I do not. I have a very pudgy face, very few, but the brow is on almost everyone kind of the front here. That's a very significant landmark for most people. I'll go over that like I said, in way more detail and in the video, but that's kind of the gist of what you need to know. So let's think of other landmarks, maybe the sides of the jaw right here in the back of the jaw. For most people, um, the eye sockets that's a huge one, just all around eye sockets, so just keep that in mind. So let's go in and draw. Let me see. I'm going into the eyes first, so I'm not gonna go into that. Now. I'm gonna go into the features. I'm gonna find that pacman shape of the I like before, and it's gonna be set inside that eye socket. I don't remember that. It's in the eye socket there. Very simple shape from side view. And I'm gonna find the front of that. I was gonna be curved, maybe a little bit, but that's how the eyes gonna look like it's it it completely in profile. I'm gonna give an eyebrow shape to the front. I was gonna more on the side of the pencil. I'm gonna bring it down, like so I might change that. I bro, actually, I want maybe have a little bit higher and maybe make the eyebrow a little bit lower. I'm gonna also fill in the iris. And people was gonna fill in as one shape right now pulling down here. Uh, so with with landmarks, we're talking about, like, bony protrusions. That's why we learn the skeleton. And more importantly, that's why we learned this Skull four Portrait's, I think, for Portrait's the skull is more vital. I mean, you don't have to learn it, but I would say it's amazing. Amazing supplement to learn the skull for Portrait's because you'll see these landmarks. If you could draw the skull, I mean that, like the parts of the teeth. You know, it's just so it's so important to draw the skull about, probably honestly, the next video pride drawn and and type room hydrilla skull is so insanely important to do that, Um, let's go into So right now, I'm thinking, say, for example, think of the skeleton right here. Top of the knows. It's gonna be where the skull ends. Essentially something that bump of the nose go down, I give him my nose. For the most part, I know it looks like a triangle, and then I'm gonna find the nostril over here. The nostril shape link up and pulling around the wing of the nostril. And he raised some construction lines again. Here, you can kind of do this overall, you know, erase construction lines as you're done with each stage, or you can do it is I'm doing right here, which I'm doing it kind of after I'm done with each stage of the part of Matt, so it won't get in the way. His construction lines are there to help you, but once you don't need to stand on them, you don't need them anymore. For the moment, you could just kind of erase them. But you're almost always gonna need construction lives. No matter how advanced you get, there are certain artists that won't use them. OK, so right now I'm gonna put the island in. I think it'll look nice over the island. It's another just small Pacman shell above it. They could make some look at rest, and it also makes him look less stiff. Uh, I was staying with construction lines. There will be some artists that don't use it, but almost everyone I know, like professionalized. They all use construction lines to kind of get their ideas off the ground, especially especially if you dry except from your mind that's going to the upper lip right here. Gonna get him just kind of a normal, even kind of lip section. Here again. A side view is much easier because you don't have to even out any shapes. So right here, get the lower lip below the lower lip is a little bit of ah kind of a gap and then extrude out into the chin again. You're drawing the average head to get kind of the idea of what custom head you want. If you look at comic artists, they do that the most. They tend tohave there specific features that they like drawing and they stick with it, usually not. Not always, of course. But if you look at someone like Jim Lee, whose amazing a lot of his heads are very similar because that's kind of the produces so much, he has his standard head. So I'm gonna e try to round out like a little bit some of features and make them a little bit more organic. Now, we're gonna go right here. Lower jaw. All right, let's going to be here. I still think my ear might be a little bit long. I might cut it a little bit lower going down. Your attacks is of the head. Make sure it attach. Is there put a little maybe even a little full here, where the the year finally ties into the skull, like with skin. This folds skin fold. Gonna have to do that. I just like doing that. I'm gonna find the overall outside shape. First it pulls in a bit, and right here we're again attaches of the skin. You don't want the year just floating there. You want to be with a attach it of usually, So let's find that. Why shape? So the question mark sheet first. And then how they he looks Trade is sorry. Traded. Sit down here to be Let's get that. Why inter part of that? Why shape? So we're Marissa. Why? Inside of a question mark shaped That means a good stand off like a like a starting off point. But maybe you don't keep it like that. Totally. All right, let's go the top of the head and I'm gonna draw this line a little bit thicker to the top of the skull, obviously drawing a bold, bold man Good top of the skull and I'm gonna make the lines a little bit. Mawr definite. Back in the neck right here. I'm gonna pull Ah, liner here. Indicating is a muscle down the neck that you see in every superhero comic. And it's ah, the sternal clad l'm asteroid. We'll go over that in a in a muscles video. But just a teacher that these huge cords usually Well, I mean in comics or huge right now, that would be very modest in mind, but startled Claddagh mastering, uh, and essential these cords to go from the back of your year down to the pit your neck. I'm just gonna even indicate that I'm not gonna draw all muscular. Ask. It was just a normal person, I think. Okay, so now let's look at what we have and what I want to do. So you could stop here and just be fine, But let's go into it more. I'm gonna draw. Like I said, the temple, the temple. Honestly, I'm looking at this line right here. It's a little too forward. I think I'm gonna move it back just a little bit, gonna wrap into the eye socket here. I think maybe like there, I'm gonna give him a side of the cheekbone, which is totally not me myself. I have No, I can't see any. My cheekbone. Pretty much very base. Give us a cheekbone and I might throw a little bit right here for the muzzle of the mouth kind of has a bit of a form as some shape around it. So these air called indication lines. So instead of drawing every muscle of the face, you drawing the small bumps and someone kind of imagines the rest of it. That's an indication line, and it's and it's incredibly big thing in art in general. So you want to indicate it and not draw the entire thing. And it's actually it can be better. Obviously, it's better in the Leinart. Usually you can draw every line. There is a way to do that, but it's quicker, and it's actually much simpler. Tohave the viewer fill that the rest of their head for something like this, like that. These, you know, they're poking through the skin, so I mean, you kind of have to draw this kind of the way they look. But I would say with hair, which we will go over and another course, for example, hair is the same way. You don't draw every single strand of hair. You indicate it, you're indicating this and the viewer will fill it in. The viewer's mind will automatically fill it in, um, going over here That's pretty much it's honestly, if you want to throw some value in for shadow, The light source is almost companies almost certainly always and everything coming from above. And you could draw price um, valley here under the neck, because that's pretty much always the case. Almost always a case, unless a special lighting may right here the year cast a small shadow and you'll get a small shadow under the nose. But this is not necessary. And right here, uh, the brow line of it. But again, it's not completely necessary. So that's the side of the head. Hopefully, that was easy enough. Post these, I would say. Do one or two, maybe even one. Honestly, do one and show it to me on. I'll give you some feedback. I'm gonna reply to everybody in the feedbacks section of the projects. Just put it in there and I can kind of go over it. All right, let's move on the next part 7. Be Patient: all righty. That's the lesson. I really hope you enjoyed it. Definitely. Get Teoh start posting on here and I can respond to I'm going to respond to every single post down here in the projects. So when you do that, like I said in the project section of this this area, I will respond. So this is the last section. This is kind of a bonus, and I'm just gonna give you a little bit of art advice. And I am going to hope you can use it, if you can. That be amazing. So let me go over it. So this one's gonna be be patient. Uh, so patients has been one of the biggest things in drawing. Honestly, that's that's actually where I saw a lot of my boosts in kind of where I leveled up to the next drawing level was doing that, Uh, I actually I remember the first time I ever saw one of my favorite artist demo. He was painting and, uh, paintings, very similar drawing. And I was amazed at how slow he was going. He was going so insanely slow. And I was like, What is this? What is this all about like, these guys go so slow. But in two hours, he has this amazing piece that would have taken me like, uh, like a week to do so I I couldn't I couldn't believe it. And that kind of struck me is shocking. And I had a teacher tell me that exact same thing. Hey was saying, Well, I forgot. The metaphor was it was I think slow is smooth and smooth is fast. I believe that was the metaphor. I think it was a military phrase for snipers. And you want to go slow and smooth so that you don't have to correct your previous steaks and very similar to this to you don't want to rush through all these practices. Your beginner, you know, want to rush through all this stuff. But you want to have this mindful practice while you're doing it and be patient while you're doing it. Actually, I guess that have fun while you're doing it. That patience is gonna translate into, you know, this kind of exuberance and you really it's gonna come out in your art and your gonna improve a 1,000,000 times faster when you're a patient person, because frustrating can really derail you completely If you get very frustrated and angry and like Oh, my God, I'm never gonna get better If you start thinking like that, it's it's gonna it's just gonna happen. You're gonna get fresher. It's just gonna delay you every step of the way. You would just get stuck more and more, more and you don't want to get stuck. You wanna have this like a free flowing, You know, like, you know, I keep going uphill, especially toward the very beginning. You're going to see probably the biggest improvements at the start, and then it starts to like, level off a little bit. And I have talked about this before where you know, the beginning that 1st 2 years when I saw this massive insane improvement in my drawing and then it has leveled out to intermediate toe high intermediate. And then I'm like, OK, now, now I'm just picking little things. So work on, uh but where the, You know beforehand it was like you're a sponge absorbing everything and everything I touch on new. I'm new at this, and I'm bad. I'm learning everything. You're just trying to absorb everything. I guess and then later, especially now being very advanced, have to work on very specific things. And it's just Ah, very different. It's the same. But it is different in many ways. So I do want to thank you. Like I said for watching this program, I will see you watch my other programs on here. I say hi to me. Talk to me. I'm very approachable. I believe I have my contact info. If you guys ever have any questions, I guess that you can ask in the section the the comment section. But like I said, just ah, you know, whatever it is that you need done on and asked, you know, ask me. I'm here to help you to get better. OK, guys, So I'll see you the next program later.