- Lesson details
In this series, instructor Charles Hu teaches you his approach to beginning head drawing. This six-part series will cover: Proportions, the Structure of the Skull, Laws of Light, Achieving Likeness, Facial Features, and Facial Expressions. In this fifth lesson, Charles shows you the intricacies of drawing the eyes, nose, and ears.
Go to the reference tab for the same images that Charles used for his drawings!
- Conté a Paris Crayons – Black, White, Bistre, Sanguine
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So I'm going to zoom in on to our face and we're going to be focusing
on how to render the eyes, you know,
what's a proportion, the the structure of the eyes in different perspective viewpoints,
and also we’ll talk about the nose, how to draw a nose, and I’ll breakdown also
in different viewpoints and also, you know, cover partially how to
draw the ears too. So let's get to it.
I'm going to take you guys over on how to refine - how the actual structure of the
eye works and, you know, how this most complicated part around on the face,
which is the T-Zone, how the eye fits inside the eye socket and then also
the structure on the nose and also how that relates to the ear.
And so we’re going to talk, spend a little more time zoom in on to the
face and talk about those features. Okay,
so first of all, here's the forehead that protrude out and then gonna step back in.
Get a sense of where the other side, other corner of the
eyebrows. This whole plane right here is a down plane
and it from that point on
this is our side of our forehead and also, you know, mentioned before well
this is the larger plane, the front and the side.
And we actually had the corner plane
right here. Different planes have different values so
I'm going to push this little bit darker.
Push that little bit darker. Okay.
And then here is the center line, ours goes through our face and here is
the keystone somewhere in this area. Well from the reference
you can see this, the nose, is going to kick see and the keystone is going to kick in.
And then it’s going to come forward like
this. Depends how much the head turns, how much three-quarter view we see. This V shaped keystone, if
you’re looking at a front view, it looks like - what I was saying V shape looks like this.
And then here's the end of this part, the part is your eyebrow line
right here. And then this is the - from here the
arch goes in and then your eyeball fits in here.
That depends on the, you know, how much is three quarter view because in terms a lot of like what the
reference shows, that V can become more of a kinda parallel lines like this.
And then the bottom of the nose
just think of anything, think of a triangle.
Make sure this has to take more kind of further out more because that has to
line up against somewhat where our tear duct
Is and remember the tear duct
sits about 45° - here’s the eyebrow line.
Where the eyebrow intersect the center line,
Ii we draw 45 degree down to our eye line,
that's where the tear duct,
which is also where the beginning of our eye is going to be. But this eye
and this eye can see it’s overlap behind the bridge of nose.
And so here I also - this is the outer curve and then from here
we’re also going to get a strong point,
strong line from this point, also down to the eye lines right here.
That's where the inner, basically the inner socket, the eye socket kind of curves in
like this. And so if I do this, it curves, see when I get to the
edges, you notice that's when the broad ridge and it's a silhouette kind of
curves in like that. This side is going to is also gonna
do this. What happened to this side, this Sid is not going to be so -
it's not going to be a 90 degree.
Kinda more - actually it’s going to life up like
that. Kinda lift up and what happens is your cheekbones, your greater cheekbone
is going to wrap around from the side, kind of interlock on all to the side and
then swing down to your - to the bottom of the nose.
It can swing to the corner of the lips,
or it can kind of come down to corner of the
chin. But the idea is it’s going to wrap around to the side.
This, the base of a nose is going to continue, is going to become part
of our side of the keystone that goes into this arch right here and this is going
to get darker because like I said earlier this kind of turns - that forearm is going to
turn in, it turns down.
That’s the lateral outside curve that goes around like this. So definitely you can see what we’re building,
this blot that has this whole thing right here
pretty much is the down plane of our forehead.
Then we’re creating this socket so my eyeball can fit in right inside this hole.
So we got the keystone facing down.
It’s a down plane facing down and then kicks out to the bridge of our nose and looking you
can also see from our reference you can see the shadow, step back and it kicks
forward and step back again into our big ball of a nose right here
and you can see that kind of also sits back again to the side and running
forward to the ball of the nose and coming down here
there’s a down plane.
So we got this diamond shape,
all right, the coffin shape I called it, right on the top and you got this bowl
of the nose to kind of insert into it.
We can probably do this. And drawing through take you to the wing of a nose,
you got from the ball of the nose, drawing side from the above the wing side of the
wing. Instead of drawing this round wing,
I tend to like the straighten this up just a little bit.
Kinda just do that
is confused a little more.
Give a little more solid look.
So we can see the shadows kind of splits at the bottom a little bit.
And before it kicks into the nostril.
And if you look very carefully,
you’re going to see the nostril, when we get to the outside wing, it actually
kinda overlaps the nostril like this.
So you can see kind of overlap and they go over the wing of the
nose. So that feel like it helps to show it with wing and it kind of
creates the whole. And so that would be true on the profile too. See the
thing is a lot of times I also might see,
you know, people draw their nose
like that, you know, looks kind of cartoonish and doesn't quite give a sense of
volume and interlocking idea of the structures and a profile too I see, you know,
people drawing a profile of the the wing and the nostril like this.
See how flat that looks. So in this case you can see even when we draw in profile does that.
How to nostril overlaps in the base of a nose and then goes
up to the wing. Versus, you know, drawing flat like this.
Okay. Even worse to put the nostril right in the middle of the
nose. So you don't want to do that. That way, besides it shows
the wing of a nose,
it's in front of the ball of the nose.
Also gives you a sense of a gesture.
It has direction to it. Because the next part we’re probably going to see - we can
even wrap this underneath, you know.
Because of what you’re going to be looking at next is the protrusion of your lips,
so you’re going to be coming, looking this way and it’s going to
push out and then the lip’s going to push
out. Sometimes I get cast shadow comes below like this so you can look
back, swing forward, and swing back again.
V shape, shadow below the bottom of the nose. To complete this ball you might need to kick out the
contour a little bit, then goes down to the bottom like this.
Also this is going to cave-in and is going to kick out to the bridge of
the nose and then drop down and meet the ball of the nose.
So we got concave, convex, come down and going convex again.
And then this is going to go into your philtrum.
This side plane of the nose, which is the base of a nose right here,
I tend to like to give a little roundness to it like that.
Again all this is going to be down plane.
I’m gonna darken my corner a little bit of the nose.
And you can see - well in this case the light source is this way.
So the highlight is going to catch at the corner, I probably made this a little too dark,
it feels like shadow, you know,
but it's fine, it’s for demonstration purposes. Again highlight is going to be sitting in
the corner. Everywhere else has to be darker than that.
I'm going to take my red and pushing into that. Normally the half tone, which is
the orange part, the half tone, is coming before - right before the shadows. In this
case I was going to put it right here
but then I look at the reference and noticed that’s where the highlight is so I can’t put
it there. Otherwise like I said,
here is this sphere,
you know, he's is my shadow.
Which is the reason I used the brown.
And then my highlight is gonna be right here.
And what I'll do is I'll take my half tone color in this case is kind
of and orangish color, I’ll push -
notice it’s going to be right in front and
I'll push towards my highlight. Like that.
And then I’ll take my black, my darkest dark, you know, just to give
more detail or if I need to
outline two reshape my form then I’ll do that.
Okay. So what that means, the highlight sits at the corner.
Half tone, corner shadow sits at the corner and drops down to the shadows. And once
there's a shadow, there is cast shadow. Cast shadow begins at the end of
the corse shadow begins right here and I'm going to have the cast shadow come
right after that. The cast shadow has a hard edge, corner shadow
has a soft edge. So what that means, means every soft edge, every core shadow - that means every soft is edge is
going to finish off a hard edge.
So if I find the place I'll show you guys - well for example,
I will definite place this, I will show
you guys. But anyway, let's go back to our features.
You can see from the reference, you got this big sweeping curve that swings down, you know, going towards,
you know to our cheekbone.
You can definitely can see your cheekbone to the right about here almost
looks like a little, you know a claw that kinda
grabs onto the side of the face that’s kind of doin this
type of thing. So on this side you can see right here like this.
That’s our cheekbone. Corner of the cheekbone, this guy right here. Alright, front plane the cheekbone has
to have front and also has the side plane.
Front, side, front, then goes to the side, goes towards your nose right, see the bottom
of cheekbone lines up to the bottom of nose and then it’s going to swing
towards the side and it's going to fuse into the ear.
So that zygomatic arch is going to continue to swing back
over to here, that’s going to swing that way.
We’re going to start seeing that hockey mask
I talked about in our first lesson.
Against start seeing this
is going to be a one plane and everything's going to see the mask.
The ear sits in the back. The ear, again like sits between the eyes
and the nose. Okay. Let's look at the eyes.
What you guys would like to know how to draw it correctly
in those eyes. Well, first of all,
if we look at the front view of the eyes,
we got the the eyeball - let me -
well, I guess I’ll draw it here -
we look at it front view and here's
the eyeball, here’s the iris, and here's the pupil,
The pupil is the darkest and here’s the iris, let’s make it a little
bigger, okay. Here’s the tear duct,
runs right about where the center of our eyes is. So the tear duct is
a little U shaped like this. Okay.
I'm going to make this very graphic because it’s really hard - even if you’re looking, standing right in front
of the model, it’s still really hard to see how does the eyelid
meets, meets the tear duct and meets to the outside of the eye.
So I'm going to break down tis very graphically so you can see how it works
and so we how we had two, we have inner rim,
which is going to basic - here's the tear duct
and it’s going to go over, wrap over
and it’s gonna meet outside like this.
I’m gonna do it one more time and gonna go swing like this.
Okay, and then you’re going to have a repeated shape, repeated rim, like this. I’m gonna do it again.
And this time just them connect it’s fine.
I need to make sure they connect both laterally and internally because
this whole portion right here is the down plane of our upper eyelid so that actually
is going to be in shadow like this.
Okay, so the eyelid kind of
sits over like this. Eye basically is a ball shape
so you have it’s darker on this side,
darker on this side.
See how this is the down plane of the upper eyelid?
And then we have the eyeball and then we have the top plane of the lower eyelid,
and then we have a down plane of the lower eyelid. The down plane of the lower eye lid
probably going to be away from the light
so I'm going to darken this and then just reinforce the contrast a little
bit by making this side
a little bit darker. Earlier
I say the pupil is the darkest
so I'm going to blast this really strong and usually there is a highlight if the light
sources are above you get a highlight, sits right below, right next to the darkest
pupil right below the cast shadow from the upper eyelid, it will be somewhere right in
this area. So I'm going to outline
that so I don’t need to come back and erase afterward.
And then you got gradations.
The lower portions the eyes are reflected, the lower portion’s going to receive some reflected light
down from the bottom. And if it's skin it’s probably gonna receive some orange light from
below. So I'm going to just use my orange and just bring that
below. Probably could be even lighter.
So here you would get a deeper crease
from this guy right here.
That's your bone right here, right in this.
That's what this portion is. You can see sometimes you will get
the shadows from my last lesson the
likeness I think you can remember first portrait, second portrait I did, you will see
there's a shadow that's doing this right here.
Also since the ball, it's a round idea
The eyeball is a round idea so I'm going to - the tear duct is gonna be kind of round
just the muscle fills in and here it’s going to be a little bit darker and
here it’s going to be a little bit darker.
And earlier I said there is a down plane of our upper eyelid and it will
be a cast shadow out of those since below that.
So as you can see now I can basically render our this, you know,
this eyeball by starting off that really graphic, you know,
graphic idea of repeated, almost looks like a shape of a leaf.
But this still, this still is not exact, you know, still not,
you know, perfect because my eyelid is a little bit too rounded because there’s an apex to it,
you know, the apex will be lineup this to the direction.
That means on upper eyelid
this part is going to sit a little higher, is actually going to be more like
this. And then the lower eyelid is going to kick out the other directions,
it’s going to be like this.
So you got this diagonal relationship?
So let's look at the reference. And you can see here’s our eye line goes
across like this. So here's my tear duct.
The other thing I want to go back - I’m gonna talk about three quarter view.
The upper eyelid
think about three planes. You have the center plane and both two corner planes. One,
two, three. The lower eyelid I think about two planes, how one longer one and one short one. So we have
have one and two. So when the eye turns three quarter like this,
right so we have to consider
how much do
we see? Well, this guy has very thin eyelids.
So they might be a little tricky to show but you can find - the
point is if even if you look at him
here’s our tear duct right here. You’re going to see first thing we need
is to basically kind of sculpt out of shape that his eye
is like. You know he has this kind of angled down upper eyelid.
What is is this portion right here.
Also very important, since we’re looking at three quarter from this way,
there is an inner eyelid that you have to show.
Right. Let's see right here.
Okay. I'm going to shade it in.
So this is the actually the inner
Down play upper eyelid, basically I’m actually looking at this portion right here, at this thickness
right here and that thickness is going to overlap because looking for this
way and that’s gonna overlap by the the outside eyelid
like this. Right so again back to that paper strip idea why I use
you know, for this portion remember you can go back to my first
lesson, the keystone right here.
So you take a paper strip and you flipped it.
I flipped it like that.
See how useful that shape that you can apply that to many places in
the human body. So again can kind of flip that. And what I think I’ll do
is I'll look is how much why one eye next to the tear duct
and it looks like the iris is about right here.
Now I don't like to just draw a round iris, I like to still like
to kind of chisel. The reason why because in this case the eye’s looking this way,
right? So if just drawing cruelly a sphere like the round eyeball, well in this case iris,
if I’m just going to draw a round iris like this,
it might look like this eye’s looking straight towards the viewer, which in this case
it’s not, it’s looking up to the right.
So what happens is that this ellipse
it’s going to get shallower
and shallower, when head’s turning away from us and the pupil is going to
be more away from the center of the iris,
right? So it’s a little more safer for me to -
and the same thing when you are looking up, looking down.
So safer for me to again to sculpt this and say just do it quickly.
So I know the pupil has to be - even though it's hard to see
from reference - it has to be close to this edge.
And you can also see on the reference
you got to the eyelid’s going to kind of overlap right here.
And feel like going to give me that wrap around
kind of feel that you know,
the eyelid wrap-around over to the other side of the eyeball. Like I said
it’s a little hard to see on the head because he has this really thin eyelid.
Lower eyelid. Lower eyelid is going to wrap around the eyeball.
It's going to actually kinda gonna indicate around the eyeball.
It's going to sit within the upper eyelid.
You can see it's going to kick out really quick.
Again also because we’re looking from the three quarter,
that’s going to kick out really quick.
Look I have a little slightly drop, again
I need that access right. So I need that one more time
to indicate that thickness, that top layer of the lower eyelid.
And you see if you look carefully my - it gets a little dirty.
Let me clean this up a little bit. You can see
make sure be aware of the little nuances about detail you draw. Again,
everything should be a little bit different. It’s thinner here, it’s wider when it’s coming
towards us, right? Just think of it like aerial perspective you know you draw a pathway,
you know, the road that’s close to us will be wider and goes away from us
or a lot of streams it goes away from the us would be thinner and
close to us would be thicker.
So I have the upper top plane of a lower eyelid then I can
put down a tone for my down plane on my lower eyelid.
One plane, right? Two plane, third plane can't see it.
This is what the outside is right here.
That's the third plane.
Our first plane - well, actually the third plane should be lighter because we’re looking from
the side actually the first plane will be only about this
much. That’s the first plane and this going to be our third plane
right here. All this going is going to be third plane, this first plane,
and then the second plane tucks over, you can’t quite see.
Okay. So right now that has to be dark we said because that's
the inner plane of the upper eyelid. Earlier
I said you can definitely see on the reference you see that cast shadow cast over
the eyeball, comes over like this.
And when you do that it’s like you can start looking a little more mysterious and looks
a little more lifelike. I need a top - I need a gradation.
Punch out some of the white. Here’s the top layer of again top plane of the
lower eyelid. The other thing I also talked about is the lower eyelid that sits on
the face. So just I was saying there's two planes. There’s a -
this plane here and then there's another plane goes up into the tear duct.
So this actually sits on the face right here.
Sits on those cheekbones. Okay. The eyes, the eyelid is gonna turn really quickly.
I'm going to look at the other full reference probably can see it better
for that case.
I'm going to switch to another reference.
Okay. So this reference can see that further eye a little bit better.
To show that wrap action around the eyeball.
So let me quickly blocked this in.
Okay, so I need to indicate where my eyeball is so I need to draw another
diagonal line, right? That's where right above the upper eyelid
I can see actually the brown make up kind of
fades up like this and that's what I was talking about earlier. And then you got
this plane right here.
That goes up and just goes to go to the side of the forehead, right?
So my eyeball is going to be sits right here.
And that’s that lower eyelid. Here is the, you know, the keystone. Here is the other keystone. Alright see how that
paper wrapping - paper strip wrapping idea comes in like this. And then you can see
here is going to go right to the nose.
That one you don’t want a big -
you don't want to draw too round a tip of the nose.
Looks like she has a pretty narrow nose.
Narrow tip. That kind of kicks back. So you want to make sure that feeling, that wrap around the
eyeball. The part even kicks in
even more. Even there. So here this side again
kind of wraps over to that side, my eyeball is going to be right here.
Make sure the line up this side. Also this side. Very important. Wrap around. That’s what I like to do -
like right here at the beginning of the eyebrow seems like enough flow right to our keystone.
So right here at the edge,
I tend to like do it this way, like that. This shape pointing this way, see
this way. So feels like it
flows right into our nose. Okay,
so three quarter view you’re going to see some parallel lines relationship.
Well, first of all it’s very obviously going to be right here.
Here. So one, two. This is where we find the tear duct.
And you're going to get that outer eyelid, so you can see how these
relationships, make sure you know you get that.
Again, this is the inner eyelid.
You can see it. They get thicker, it’s fine, just reinforce the idea
what you’re seeing through this way and then it’s going to wrap over.
Like the last drawings that you got this really strong eyelashes.
That kind of just turn everything to this black angular shape like this.
And look at how much white you see, that’s where the drawing the iris
I like to chisel again.
Because she’s looking this way to darkest peep hole and gradations.
And then see light source is on this side
so the lower eyelid again
I'm going to take this slow.
I'm going to show you it wraps, it kind of wraps up and so show that
top plane of the lower eyelid and below that we can just paint
darker, but again, I need thicker here and taper over towards the tear duct.
Okay it sits on the face.
The other side, like you can see, is going to wrap around really quickly.
And you also got - now you got the thickness on the other side, on this side.
Hopefully you guys can see this again.
Pretty exaggerated. Here is the paper flip idea.
You see this portion,
which is looking this way,
you got the inner, upper eyelid now
we’re looking from this direction. The eyelid’s going to tuck in really quickly, right this you get a
sense of that ball. This part right here. All this kind of
tucks in and just kind of tucks in. And in this case you have more of the white on this side and
less on this side and that’s where the iris
was going to be. The darkest pupil gradations. Cast shadow on this side.
See how quickly that tucks over.
Like in this view we can see like the last drawing, we can see the plane
number one, right, and plane number two like - I think maybe number three, I forgot
what number it was.
Anyways, a lot on this plane here, the outside plane right here,
but if you look at this guy right here, you know, you might even
see well in this case this edge right here
this is actually that third plane so you mostly can see
this plane here, this plane here, and this plane here.
But on these eyes all you see is one and two.
Because it’s really quickly that third plane on the outer - facing the other side.
I still want to show the top and the lower eyelid.
Wrap around the eyeball, lift out really quickly.
Thinner, wider towards us.
Well it may be a little hard for you guys to see so I’m gonna outline a little
bit harder, but you don't do this when like in your drawings because it’s not going to
look good. I just want to show on the camera
so we can see a better. See thicker here and taper towards the outside. The eyelid is going to
tuck back, okay? So this goes this way, the eyelid goes out.
Back in, the eyeball, the top eyelid kicks out and lower eyelid kicks back in.
Same thing you got the diamond shape right here.
Cover the eyes because you’re looking at drawing a three quarter view.
You're probably going to cover the tear duct.
Corner - well not quite corner. This is the lower corner plane of the ball of the nose and then the wing
and then kick out to the wing.
Core shadow, soft edge ends to a hard edge. Right in here can also get a sense of
some time I imagine a kidney bean. If you guys know what a kidney bean is,
looks like this. And so if you can imagine a kidney bean right it, draw a few times, loop
around. See how it takes you to that cheek bones and this kind of
digs in and but then again we need to get a sense of
that muzzle. See when I draw through, you notice
this actually is going to kick
back out a little bit and it goes to the chin.
That’s gonna be roughly where the lips are going to sit. Look here is our center line of the face.
Okay, but I keep mentioning
the lips have a teeth underneath.
So there's a barrel, the tip of the lips right here is going to rise in
front of the center of the face actually.
So you can't - we can't just put the center of the lips right here on that center line.
We have to imagine it’s going to protrude forward a little bit and she doesn't have
a strong push so it can just be be subtle but don't put it around this line.
We’re going to actually put it a little bit - brings out just a little bit and
kicks back and put up the center of the lips right here instead right that
line, okay, right on the line.
Okay the furthest side of the corner of the lips, I know in straight view proportion the corner
of the center of the eyes.
Okay, but a lot of time it actually when you’re looking at a three quarter view,
that corner actually lines up more closer to the tear duct.
I should have done that center line and then you can look at the reference and kind of really see that too.
So here's the tear duct and I'm going to put the corner of the lips right
here. The other one I can probably put it right about where that center of the eyes is.
Okay. So now I got three points.
I got my center, I got my side, so I’m good.
Oh I need to do just again,
draw that in like that and since it’s a down plane so it’s going to probably
be in shadow so I'm going to kind of shade it darker and lower lips
you got that - again you got that M, you got another M on the
bottom. The lower lips, she’s got a bit thicker lower lips so
make it look thicker. You also got this plane here, middle, and it gets same as the eye lid,
you got a lot on this plane. Lower lip
you can see it’s gonna catch highlights because it’s facing up and that highlight -
let me darken this line little bit. I need to make sure the upper lips dominate
the lower lips. Same as the eyes, the upper eyelid dominates the lower eyelid.
So that means you know if I draw -
like if there's - if the eyelid closes, the upper eyelid is actually goes
over the lower eyelid and it comes around. So in this case you can see the upper lips
over the lower lips right at the corner.
Right at the end right here, That’s a little bit of a dimple. This overlaps the lower lips.
Okay so the lower lips looks like a water hose. Or this kind of capsule shape.
You still got top, front, and the bottom.
Okay, you can see the highlight sits on that corner.
Where's my light source? Light source
looks like maybe center, off to the left a little bit.
So here is my corner, that’s going to be where my highlight.
And I like to - at the corner of the lips I like to hook up
a little bit. So just give it a little more I guess a little more cheerful expression
versus a curved down looks like she’s sad or she's unhappy.
This little shadow, dimple shadow below the lips, right above the protrusion of the
chin, this is my favorite place to put the shadow and really help me to push
out the lower lip. And this is going to wrap around the shadow looks like a
horseshoe shape in this area,
it’s gonna drop down and hook back up to the corner
of the lips and your chin you can see in this case is sitting right below
and protrudes out and again,
when I do that that means the top plane, the front plane, and the light
his that corner also going to catch highlights.
We got this up shot.
And so when I’m dealing with extreme you know, perspective like this,
we still have to think more like a box or in this case or
a cylinder that’s looking for above.
So if I’m imagining, if I’m actually imagining, in this case do
looking at a cylinder, see how the hair will benefit us by wrapping see the wrapping
the hair following with that stripe, the perspective stripes and just going to go
around this way and this is going to go around this way.
Even this temple to hair, this temple line also need to kind
of kick back like this and in this case goes over the ear.
Okay, when I’m dealing with the ear, first thing I'll need to, you know, keeping my mind,
you don't just draw this cool C curve. Again it will look too cartoonish.
You need to swing it to the skull.
They're probably going to be about 5 planes.
There may be one, two,
three, four, five. It can be four, it can be
six but I need you to know sculpt them and they just form this
this quick C and this and make sure also you draw
an ear off in the angle.
Obviously the ear lobe should be coming in front.
And then the ear lobe,
we can keep these a little more angular and then you can curve the ear lobe like
that to keep it a little more organic.
And then basically you got some of Y and C curve, S curve shape in there,
but the first thing will be beside the outer you have the inner rim
comes in and just going to phase out.
And then you got this Y shape right here, little U-shape right
here. The triangular fossa right here.
I like to put the up in the angle.
I don't like to put that in the middle.
So you got this.
So overall you’re going to see a like a Y tubular shape that kind of
goes into and then it kinda drops and goes
ear canal like this.
Okay, so, you know so you get rim, this
little dimple there and then this is going to kick in and you get this U shape that
ear canal right here.
I can sit that right by the middle of the head.
That's where the zygomatic arch goes in.
Again make sure this has to be a set of angle, the ear lobe is gonna
overlap the cheek. I like to do that.
And then often you get cast shadows below from the ear lobe.
In this case, when we’re looking from the top of the ear, since it's
the ear are already set up the angle, the ear is going to get more even more
extreme. And I think for this picture, the ear is part of his character and he has
this kind of quite pointy fans out ear and
I can play with that if I want to do
kind of caricatures of him or use that as his character
and, you know, push that a little more than I see it.
And the other thing I want make sure since we’re looking for the top I need
to get that top rim
of the ear. So we can feel like we’re looking at the
top of this this ear and this is going to fade into the jaw
and that is a chin facing this way and jaw facing the
other direction. Okay, so we come back down our a forehead.
That cheek line, see how he kind of help me - really helps me to engage the
structure of the head. If we look at the eyebrow, like
you can see besides this
prospective the corner eyebrow will be somewhere lined up
with this angle right here but it’s gonna be somewhere
right here, that’s the apex of the eyebrow.
You know, we’re going to see there’s our
corner plane and the front plane and they've been tucked into the keystone.
So don’t, again, don’t just crudely draw that C curve. Chisel it.
From everything we do right now is to reinforce that perspective from the nose.
And also we get the side of the nose.
This is the thing, if we look at the reference, the tip of nose it’s pretty
much tangent to the side of her cheek.
Usually, you know, there's always - the rule is that
you don't want to have tangents, you don’t want to put picture in the middle of the page.
There’s always these kind of design rules. The rule can be, you know, can be broken. As long as you know
what you’re doing. Okay, but in this case I would need to
kinda follow that rule. I don’t
want this tip of the nose tangent at my cheek.
So now I want that nose to protrude further.
So I might hide the chick behind the tip of nose or I bring it out a
little bit and I'll make that decision maybe later.
So let me go back to this.
So go kick back, comes forward. Now since we are again,
we’re looking for the above,
I want that tip of the nose in a little bit lower than my wing of the
nose. You still get the same structure in the here. And
you can see it from the reference too.
Right so it’s no different.
Sometimes I just need to tilt,
kinda tweak it to make it more - reinforce that perspective, benefit
your drawing and to really make it
you know, make it read more obvious, more stronger. Looks like I got just a little
bit of the iris right in here and then we can see definitely we can see
the lower eyelid that kind of goes around it.
And then the - well I’m just going to tone the lower eyelid like this so
I can see a bit better. I’m gonna darken that.
Okay, so again take that over.
Again see here's the tear duct/
We'll need to make sure it kind of lines up somewhere right here or the -
maybe put the iris first.
Double check, stand back. It looks okay.
Again, that lower eyelid has to wrap very quickly.
Thicker tape. Eyebrow swings back also.
Gradations. See you still got that little bit of that outer eyelid that wraps around
the eye socket. The lips. Finding the center.
Like I said, I like to - well
because his face is tilting down,
okay, so what happens is
if you look - if on the side you can see the top of the lips
protrudes out. So you're going to see an angle comes like this.
But when you’re head tilts down,
you’re going to start seeing that angle going to get more flat and especially
when he’s looking from down
it's going to be a little bit flat.
So I still can protrude out but I can just be a little more subtle than,
you know, than a three quarter view.
Again just a little bit.
So since we’re looking from above it,
the idea is the same as this, you see how the corner of the eyebrow are higher than my
keystone. Everything is based off this upside down triangle
so I need to make sure
I also need to have that same
alignment as my lip. Lower lip is wider.
Same thing, darken the upper lip. Part of the lower lip,
but make sure the upper lip is dominant value wise.
And also it has to overlap at the corner a little bit. Overlap at the
corner. Feel through that muzzle. That kidney bean shape. So I'll make sure the nose sticks out a
little bit further than my cheek. Swing this towards the other side.
Feel this symmetry. That’s that triangular fossa
here. I like to put it right in the angle so I put it
Here’s my zygomatic arch.
I'm going to put that
hole right here. Again,
you see all the shape in here.
Besides this one kind of pointing this way, everything else
is pointing towards my triangle
or towards my chin. Okay.
I think the best exercise that you could do is, you know,
just like what I did, just looking photo reference and just drawing eyes,
you know in the head drawing classes we have assignments just, you know, that
week only focuses on drawing eyes and the next we're focusing on nose and ear
so just, you know, draw 30 eyes,
you know, in your sketchbook in different perspective and also nose
and lips. And when I said lips not just closed lips,
it can be open lips. So another great way to study and practice is draw over
a master's drawings. Master means like Michelangelo’s, Ruben, all those Renaissance masters. Draw over, put tracing paper, draw
over on their drawing to also to study their structures and
how these features fit.
Okay, so make sure to do that and I will see you guys soon.
Free to try
1. Lesson Overview44sNow playing...
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2. Demonstrations 1 & 2: Patrick and Carlotta (Eyes)55m 54s
3. Demonstration 3: Patrick (Ear & Nose)18m 39s