Original subtitles

In this video, I'm going to show you a

great technique for creating heads and

faces, but not only just creating them,

but practicing and getting good at them.

So, I'll take you through the entire

workflow, and I'll also give you some

techniques for practicing this workflow.

If you like what you see, then do check

out the links in the description to my

character course, which is similar to

this, but making an entire character.

And my 10-week art program is about to

launch, and the link to the sign-up

details are again in the description.

So, let's get started making faces and

heads. So, I'm in a new general startup

file, and I'll just show you that if I

go to file, new, I'm not using the

sculpting startup file. I am using the

general startup file. That's because I

want to add objects nice and easily. So,

in the new general startup file, I've

got my screencast keys down the bottom

corner here, so you can see what I'm

pressing, and I'm in Blender 5. But, the

techniques here will work in all

versions of Blender. What I will quickly

do is just get rid of the timeline. You

don't need to follow along with me, but

just to create a bit of extra space,

I'll click and drag in the corner here

and overlap the timeline, so we've got

rid of that. Now, many people just add

in a UV sphere and start sculpting on

that, but it isn't particularly good for

practicing the shape of the face, and

that's the first thing you need to get

sorted before doing any of the details.

To illustrate this, I'll bring out the

side window here, and I'm just moving my

cursor over the middle of two panels

where it changes to the arrows, and

clicking and dragging to make a nice big

window here for my outliner at the

moment, but I'm going to change this to

the image editor. So, I can now drag an

image into here as my reference. The

reference I'm using is this reference

here. You can download this from my

Gumroad, link in the description, and

you can just click and drag it into the

image editor, so we've got it there as a

reference. And if you want to learn how

to draw like this, then you might like

my drawing course, again link in the

description. Now, lots of people might

want to drag this reference into the

scene. I think it's better off to the

side because if it's in the scene, you

kind of get used to tracing around

things rather than looking for the

actual shapes, which is what we're

trying to practice. Okay, so in my

scene, I'll just get rid of the light

and the camera. We don't need those for

now, and I'll zoom into the cube. Now, a

cube is an awkward shape to start with.

It is better to start with a sphere, and

you can see the sphere shape kind of

outlined on the side view just here. So,

I'll select the default cube and delete

it, of course. Shift A to add mesh and

then UV sphere. It's got a nice round

sphere for this bit here. For the front

bit, we use a cylinder. That's probably

the easiest shape, anyway. So, shift A

to add mesh and then cylinder. And I'll

just go to side view with three on my

numpad and move that into position. So,

it's to the front slightly. I'll scale

it down with S to scale. Bring that out

to the front, and you can see the front

of the face is really slightly

protruding. There's a little gap just

here. It's quite small, and in terms of

distance, the cylinder is going down.

We've got about an extra quarter of the

sphere. So, we'll bring it down so

there's an extra quarter there. That

might be a little bit too far just

there. So, we've got the head shape just

there. I'm going to go back to side view

and duplicate this. So, shift D to

duplicate, and then I can move my object

away, rotate it slightly for the neck.

And notice the neck is at a slight angle

like this. Maybe a kind of 20°, 30°

angle. So, I'm a little bit too steep

there, and I'll scale this down just a

touch and move it just a touch. So, the

back end there, you can see the back of

the skull. It's kind of lining up a bit

with the back of the neck there. The

back does actually carry on and stick

out a lot further than the back of the

head, but this is a nice starting point.

So, this is our starting shape. The

reason this is a nice good starting

shape is that it follows the contours of

the face a bit better. If we start with

a sphere, it can be really awkward to

get that nice curve here, and I see lots

of beginner students creating very flat

faces. They do really nice features like

noses, mouths, and eyes, but they

haven't got the starting shape like

this, which is all important. Now, the

last thing you might want to add is the

ear. So, I'll go to side view again.

You'll notice the ear, the very top

corner, starts roughly in the middle of

the sphere, the middle being up there.

It's a tiny bit lower. I guess the top

of the ear there is kind of towards the

middle. And notice the ear starts in the

middle and goes backwards. So, if I move

my 3D cursor, so shift right click to

move my 3D cursor to here, shift eight

to add mesh and then cylinder. I'll

rotate around the Y axis, so R Y 90, and

we've got the right position. I can

scale this right down, somewhere like

here. Go back to side view and just move

that into position, so the top, as we

were saying, is in the middle there, and

the start of the shape going backwards

is about here. So, that looks about

right. We could actually scale it in the

Z slightly and maybe rotate it slightly,

but that's not too important at this

stage. We're just trying to get the

general features in, and then we'll go

around to front view, G then X, move

that across, and I'll keep it nice and

simple for now. But when you get a bit

more experience, you can do a slightly

better ear shape here to make it easier

when you get to the latter stages of

sculpting. Okay, so these are the main

features of the face, and it's a good

idea to actually practice setting this

up, because it makes you think about

certain positions of where things go on

the face. So, for a start, this cylinder

here, thinking about that, the jaw line

ends at the ear just here, and that's

quite an important feature. Lots of

people get that wrong. They start ending

the jaw about here, and we've got a big

gap between the ears, whereas we're

thinking about this already right at the

very start. We've got the ear position

correct right at the very start, and

we've got the neck position correct, and

of course, the kind of cranium here. So,

it's a good idea just to practice this,

so you could move this across to the

side. I'll just duplicate it with shift

D, move that across to the side, and

we've got our first shape here. Once

you've practiced the positioning a

couple of times, we're ready to actually

start doing some sculpting. This is

fairly straightforward. We can grab all

our objects here. I'll shift left click,

so there's an active object. There's got

to be one that's highlighted, a kind of

yellowy color as opposed to the orange,

in order to join two. I always choose

the cranium because I know the object

origin is right in the center there, so

I can now press control J to join. You

can go up to the object menu as well and

find that just there. Now, it's not

actually ready to sculpt like this. You

do actually need to do a remesh, but

that's easy enough. We can do that in

sculpt mode. So, up to the modes in the

top left here, down to sculpt mode. The

quick way to do that is press control

tab the pie menu, and then you can move

your mouse down to sculpt mode. So, in

sculpt mode, they're all joined

together, so I can sculpt on the shape,

but you'll get these anomalies where

they overlap. So, I'll just undo that

sculpting, and we need to remesh. The

remesh menu, if I press the middle mouse

button and move across, you can see that

across here. The voxel size and the

remesh button are the most important

things to worry about. I'll press escape

though and just press R for the voxel

size, and you can see the size of the

polygons that you're creating. And to

start with, we want them relatively big,

so 0.1 is a good size. But if you've

resized your cube or spheres and stuff,

then this might look slightly different,

but this is the size you're looking for

in comparison to your shape, so 0.1 in

my case. So, that's great. I can now

press control R to remesh, and that kind

of fills in and joins all the shapes

together properly. So, now we're ready

for sculpting.

I'll just bring the brushes out

slightly. So, click and drag at the top

here. I have got a few extra brushes in

there. I can change those back to the

essentials, so under all libraries,

essentials. This should be what you see,

and I'll just bring this down one

because those are the main brushes that

I'll use. Now, I like to start with the

grab brush just here. G is the shortcut

for that, and I'll use a combination of

the grab brush and the smooth brush. You

can get to the smooth brush by holding

down shift. So, I make my brush nice and

big to start with, so F to resize my

brush, hold down shift, and I can smooth

it out. But one thing you'll notice is

that I haven't got symmetry turned on,

and I've got an extra ear off to the

side here. Well, your symmetry tools are

at the top here, and if I enable X, I

can now sculpt on one side, and it will

happen on the other. However, how do I

copy this ear from one side to the

other? Well, in the drop-down, you've

got a symmetrize option, and I want the

positive X, which is this side here, to

go to the negative X. So, I'll just flip

this around, positive X to negative X,

symmetrize, and you'll see it jumps

across to the other side. So, I've got

my weird shape person just here. Now, I

can start trying to mimic the shape

here. And I'm just going for the general

shape, the kind of protruding nose, the

sunken eyes, and getting the jaw in

line. So, let's bring this top out

slightly, so you can see from side view.

I'll just press forward slash on my

numpad, because that will isolate this

shape, taking me into local view, so I

won't see the object in the background.

So, I'm just bringing that head forward,

so it's this bit here, bringing that

forward very slightly, and then smooth

out these areas in here. Probably

smoothed out the ear a bit too much, but

this is one of the limitations of just

using a simple shape. So, I'll undo that

change there, and just grab it and bring

it in a bit. Grab the jaw, so I'm trying

to line the jaw up. Remember, it's

coming up to the corner of the ear here.

And anytime you get this really sort of

strong stretch in your shape, you can

press control R to do another re-mesh.

I'm just keeping it nice and simple,

grabbing these shapes, bringing them in,

so it lines up a bit with what I've got

here. From the front, in fact, let's

just bring this in really slightly. It's

not quite circular like this. So, bring

those in slightly, and we can bring this

out very slightly just here. I'm just

practicing getting this shape here, just

the shape. You might want to add a

little bit of kind of shape to the neck

as well. Bring that in there, bring it

out of the back, and smooth out just

there. All important is to make sure

that things are lining up with each

other correctly, like the jaw just here

and the ear. The nose position and the

eye position is next. So, I'm just going

to go to the front, bring my brush down

slightly, and just bring this out just

around to the side here slightly. Bring

it out really slightly to start with,

just so there's a little bit of space

there. Then round to side view, and I've

kind of got something that I can grab

hold of. If you don't bring it out to

start with, it's a little bit awkward.

You might come from here and bring it

out, and then you kind of get two noses.

So, I like to just create a little lump

there first. You could do that with the

draw brush if you wanted to. Put a

little lump there first, and then bring

it out properly. So, we're bringing out

the nose, and again, we're thinking

about the position. So, practice the

position. Where does the nose start? It

doesn't start in the middle, it starts

towards the bottom just here. The eyes

are more towards the middle, and they

line up with the ears just there. So, we

can bring the eyes in like this, and

we've got a little divot there, and we

come out a little bit for the brow just

there. So, getting the rough shape,

there's a bit of a slope downwards from

the bottom of the nose down to the

bottom of the chin. So, I'll just make

my brush a bit bigger, F to resize,

bring that down like this, and I've got

a very rough shape there. Probably need

to come to front view and reposition

things. Now, I've gone into orthographic

mode here, so that's orthographic mode

just there. Orthographic mode gives you

a really distorted view of the face, so

it might be a bit too harsh, but

perspective view from here looks a bit

warped as well. So, generally speaking,

most sculptors prefer, if I press N on

my keyboard and go up to view, they

prefer a focal length nearer 80 or even

higher. That kind of zooms you out and

zooms you in at the same time, but it

just makes the features of the face a

little bit more what you might see when

you look at someone. So, puts you in the

right distance. It's tricky to explain,

but it just helps with proportions. So,

in fact, I can just bring this in a

little bit more here, and like I was

saying, this is orthographic, but you

can go to front view and then just click

on perspective, and then you're kind of

in front view, but you can go back to

perspective view. It's a little bit

nicer to work with. So, I'll just bring

these in. So, we've got our nose shape

just there, and we've got the eye

sockets, and we've got a bit of a brow

there, cheekbones coming out a little

bit, and there's a little bit of space

for the mouth as well. We kind of get a

dip in where the cheeks are there, a

little bit of lump where the mouth goes

like this. Just think Deadpool. And

we've got our basic shape there. The

ears were a little bit off, and like I

was saying, because of this limitation

with how I built them, you probably want

a little bit more of a complex shape

because this is going to take me more

work now to fix this. I'll just smooth

out at the front here, but I have to

pull this around. So, this kind of

highlights how important it is to get

good shapes to start with. Then it

doesn't take long. Notice this is taking

me a lot longer to pull this in, pull it

around, create the ear shape, which is

becoming a little bit messy, but I'm

slowly getting there. And it's not that

you can't, it's just that it takes

longer. So, I've got a rough ear shape

there, very rough. Let's just bring out

the back a little bit more. And remember

to a remesh, control R to do a remesh.

Might have to just tidy up a little bit

more there. So, there's my main

features, probably a little bit too out

there.

And we've done some nice practice there

of uh just getting the basic shape. So,

from here we can start working on the

details a bit more easily because we

have that nice rounded shape at the

front like this. And we're thinking

about getting the correct proportions

first before doing the details. Lots of

people want to go in and do eyes and

complex mouth shapes, but we get the

basic shape first like this, and we

practice this as well. So, I'll just

come out of local view, which is forward

slash on my num pad. So, we've gone from

this shape to this shape, and you

probably want to do another copy of this

and practice getting to this shape. I

would say spend 2 minutes maximum. Your

first 2 minutes are going to be a bit

rough and a bit all over the place, but

then your second will be slightly

better, third, fourth, and then you'll

be able to get to this position really

quickly, and you'll be able to sculpt

much faster. So, once we got to this

point, I'll just go back to object mode,

so control tab across to object mode.

Shift D to duplicate, bring that across,

so that is stage two. So, now we're on

to stage three. We can zoom in a bit,

and hopefully you'll have lots of

versions of stage two, where you've been

practicing. This time we need a bit more

detail. So we can go to sculpt mode, so

control tab down to sculpt mode. Ah, for

the remesh and we can come in a little

bit more detail. So maybe something like

.06 to .07, somewhere around there.

Control alt to do our remesh and now we

can start thinking a bit more about the

shape of our objects. Maybe putting in a

mouth, tightening up the nose a bit and

so forth. So now I'm kind of looking at

front view here a little bit more. Let's

just zoom into that and let's still keep

with the grab brush just to start off

with, making sure we've got some nice

proportions here.

I think my jaw's a little bit wide, so I

can bring that in a bit more.

I think the positioning the ears a

little bit wide as well. I'm not going

to worry too much about the ears, but

that's something you can focus on for

yourself.

Just making sure there's a nice eye

socket just here. And also it's worth

pointing out, if I just bring my

references that I've got on another

screen, this is a pure ref file and I've

got lots of faces in there that I can

zoom into and have a look at. These are

all from Pexels, which is a free image

site. So you can just download these

pictures and use them as you see fit. So

I'll just drag that off to my other

screen there. Now, at this stage, you'll

probably want to use a couple of new

brushes. I think the crease brush, the

crease polish that is, this brush here,

is a really good one. I'll just press F

to resize the brush and then I can

actually start putting in some creases.

So getting the kind of smile lines in

there.

Maybe a little bit of a bigger eye

socket. If you hold down control, that

will do the reverse crease, so you can

kind of create sharper lines like this

if you want to. Let's do that for the

jaw for example. So it creates a sharper

line in there, but then I can cut in

underneath the jaw. Maybe create a bit

of a neck down here. Not that you need

to worry too much about the neck, but

there's a big muscle going there and

you've got a throat coming in here. And

a crease in there for the actual

jawbone. Hold down shift to smooth out

and then you might want a bit of a

crease down here, depending on how gaunt

they are. Then for the mouth, I make my

brush fairly small. Just make sure I've

got the right position, so looking from

front view, so into front view and then

into perspective mode. We've got that

nose coming roughly to where the ears

are. Might be a little bit high there,

but it does differ for different people.

And looking at where at the bottom of

the nose is in terms of the position of

the head, I think we're about right

there. Just zoom out a little bit so we

can see that more easily. Making sure

these things line up and then I'll work

on the mouth. So come in here and a

little bit above halfway down, I'll do a

tiny smile. Sounds a bit weird at the

moment, a tiny smile like this. I might

not have enough topology here, so

control out to do a remesh and then tiny

little smile again. Can you see the

crease brush pulls that together? So a

tiny smile like this and then this line

going down here. So you've got a kind of

M shape for the mouth. So just bringing

that in down to there, control out to do

a remesh and then I'll do the same thing

again. Little smile and then bring that

down and then you can see that's kind of

the mouth shape. I do think I need some

more topology, so after the remesh,

bring that down to let's say .05, four

to five anyway. Somewhere around there,

control out to do a remesh, little smile

and then line down there. And then we do

a line underneath, so this creates the

bottom lip and we can hold down control

and then sharpen these areas up for the

actual lips. Not too much down here,

more in the middle. And at the bottom

here we kind of create a circle shape

for the chin. So again, control out to

remesh, tidy that up a bit. Might need

to smooth this out a little bit and then

try again. Little smile down here, hold

down control to bring these out. So

little smile there, down here as well.

Line underneath and then

out for the chin just there. And we've

got a very basic lips and mouth there.

And then we can work on the nose a bit.

So creating, again with the crease

brush, crease around the nostrils here,

smile lines coming down there. And they

come down to the edge of the mouth and

this is where we practice our shapes and

proportions. So from the corner here

down to the corner of the mouth and

there's kind of a little dimple in there

as well for the mouth. Although I've

probably done a bit too much there.

Let's smooth some of that out. Holding

down shift. And the draw brush is really

good for the nostrils. Hold down control

to dig in. Let's smooth that out and up

there. And we've got a very basic shape

emerging. Probably want to use the

crease brush. Maybe even this crease

sharp. It's a bit

aggressive, but it can help us to get

that ear shape a little bit better

around here, I think.

And then control alt to remesh. Smooth

out that area there. And we've got a bit

of a better ear there.

Not too bad. And then back to the crease

brush. Just create a sort of area for

the eyes for now. Nice and simple. And

then make sure they're in the right

position. Let's get front view, back out

of perspective view, and have a look

around. And that looks about right. So

there we've got a stage three. Might

want to just do some adaptions here

maybe with the grab brush.

Very minor. But again, this is something

you probably want to time yourself. You

can give yourself a little bit longer on

this one with the details.

But I would say three to five minutes at

the most and then do the next one and do

about five of those. I wouldn't do much

more than five. Well, it depends how

keen you are to practice.

But there we've got stage three.

So again, back into object mode. I'll

duplicate this one. So shift D, move

that across. And then we're working on

the latter stages. And each of these,

I'd practice this one a few times. This

one a bit more because obviously you're

taking this shape and really starting to

get the features. But again, give

yourself two minutes, maybe three

minutes on this one. Do five of those.

Five of those. And then on this one,

slightly less and you spend slightly

more time. But this is where in object

mode I add in some eyeballs. So shift

right click to move my 3D cursor. Shift

A to add mesh and then UV sphere. R X 90

to rotate it around the X axis 90

degrees. Scale that down.

And go to front view. Now again, I want

to be in perspective view here. It's a

really awkward one to get right in front

view, but just try and line yourself up

a little bit. Now you're looking to get

roughly five eyes across the face. So,

this is not too bad. So, if I press

shift E and then X, move that out,

that's roughly right. We are in

perspective. If you move out, you can

start to see how it distorts the shape.

And then shift E and then X, that's in

the middle there. And then I would start

my new one there. So, that's about

right. You want from here to be the

edge. So, this first one, second one is

actually the eyeball, and the third one

is kind of in the middle of the face.

So, this is roughly right and it's a

rough estimate, really, because people's

faces and things are different shapes.

And it's actually really slightly

smaller than you think. So, it's not

quite five. This is more an artistic way

of doing it because it's five when

you're drawing the eye, but the eyelids

tend to kind of be bigger and stuff and

it sort of comes out a bit more. So,

just a tiny bit smaller. I can delete

these ones now. That one, I can use a

mirror modifier. So, I'll just bring

this up, go to the modifiers, add

modifier, type in mirror, and add the

mirror. And just make sure you're in the

X axis. So, that's going across the X

axis here. You can see the Cartesian

coordinates there. Mirror object, use

the picker and use the face, and then it

jumps to the other side. Now, when it

comes to side view, again, looking at

our shape here, the original sphere

we're kind of looking at. So, that

probably comes to somewhere around about

here. So, it needs to come back

slightly. I always find this the most

tricky is getting this in the right

position. And it does depend a little

bit on whether you've got these things

right as well. My brow line there and my

lips might be a little bit far out and

there's a bit too much of a curve there,

I feel like. So, I might just bring this

in and this in. The nose is probably out

far enough, but these bits need a bit of

tidy up. So, this is probably in the

right position. Again, looking at that

circle going around, looks like my

eyebrow might be a little bit low here.

Right in the middle there. Is it in the

middle? It looks a tiny bit low. But,

that's nothing to worry about too much.

Just going to bring this up very

slightly. So, G then Z, bring it up a

little bit to there. Again, the top of

the eyeballs probably just in the middle

there. So, maybe up a tiny bit more,

actually. Somewhere around there. So,

that's looking about right. Again, it's

one of those things that you are

practicing, so don't panic if you get it

wrong, and then we can go back to our

main shape, control tab down into scope

mode, and let's start trying to get this

eye to work. So, might need these up a

little bit, just a tiny bit. I was

saying about the shape of the nose and

things, so I can start bringing that in,

bring this in. Top lip looks a little

bit too far out. And that looks about

right now. Now, the simplest way to work

on this is to get the clay strips, come

in, and make your brush fairly small.

Oh, I probably want to do a remesh

first, so uh to get your voxel size,

bring it in, and notice I'm not even

looking at the number. I'm looking at

the faces, and just looking at the face

size. Trying to make them kind of

similar to the eye face size, so the UV

sphere that is. Probably somewhere

around here, and control R to remesh.

Might be a little bit fine, but we'll

see how we go. Let's build this up for

the eyelid here.

So, build that up, smooth out.

So, build it up, smooth out.

And that's I find just the easiest way

to do it. Needs a bit of tidy up, of

course, but you've got some simple eyes

just there.

Now, it should be, looking at this, the

top eyelid is in the middle of the eye,

the bottom sort of slopes and curves

with it, so just be aware of that. We

might want to dig this area in just a

touch with the

clay strips brush, and again smooth this

out. The top eyelid should be at the

very top of the pupil, just overlapping

it slightly, and that's why I turned my

sphere around 90 degrees, so it kind of

has a pupil-looking thing at the front

there. Smoothing out.

That looks all right from the front at

the moment. Just go around to the side

and have a look. It's not too bad,

really. And then we get the crease

brush. Might be a bit early at the

moment, but then we can hold down

control and just bring out the eyelids

like so, just to get the rough shape.

This one kind of comes down like this,

and the bottom one kind of goes into it.

That's how I do it, anyway. Nice easy

way to do it. Smoothing out around here.

Smooth that out. Actually, it's about

here that we should have a crease where

the eyelids go into the eyebrow and up

there. So, this is again where you're

looking at your references, you're

practicing, and and there's an area here

for the eye socket. So, I'll just put in

some creases around there.

And there we got our very basic eyes

just there. Then to the grab brush and

just do some slight adjustments.

You might need to go back into the eye

here. Might need to come forward here.

So, again, looking at the side here.

That doesn't look too bad. Let's have a

look. Looks like some sort of mummified

person, but it's all right, I think. Do

a bit of smoothing out.

And then back to the crease brush and we

can start thinking about these other

areas like the nose here. So, crease Oh,

that's the aggressive crease. So, I'll

undo that and go to the crease polish.

It's much nicer. Just sort of brings the

shape in nicely. Use the smooth brush.

Notice how my smooth brush isn't having

a huge amount of effect. That's because

the more detailed you go, the more

polygons you have, and the smooth is

having less influence. So, this might be

a little bit too far, if I'm honest. So,

let's have a look. So, uh

for the remesh, let's come out a little

bit so we can see that. Uh for the

remesh, and yeah, I was really quite low

there. So, we'll go to 0.01. Control R.

Yeah, that's a little bit more like it,

I would say, because my smooth brush

then, when I use it, has a bit more

influence, as you can see. Might still

be a little bit low. Occasionally, you

might want to jump to the draw brush to

just bulk areas out. You can use the

inflate as well. Where's the inflate

gone? There it is. Sorry, that's the

blob brush. The inflate brush is there.

And you can inflate areas like this.

That can be really useful.

And every now and again, just control R

if you need the topology. I use the draw

brush to get those nostrils in a bit

more. And remember you've got control

with the draw brush to dig into shapes

if you need to.

And let's go to the crease polish for

the lips again. So, that little smile,

then down. And then a dimple at the end.

And I need to smooth that out there.

There's not a lot of shape in this area

here for the lips. Little bit of a bulk

there for the bottom of the lips. And

then this general shape for the chin.

And brush nice and big and smooth out.

Chin seems to be a bit wide there, but

we'll sort that out in a second. Just a

bit smoothing around here. It's not

looking too bad. I wouldn't go too much

further than this, really, because this

is Again, we're practicing. We don't

want to go into minor details. Probably

just look at the head shape a bit more.

So, I'll just go back to the grab brush,

G for the grab brush. Maybe bring the

brow out a little bit, the eye socket

around here a little bit. And again,

you're looking at your reference images,

just making sure you got the general

shape. Don't go too far to the details.

Just this sort of base level is fine.

Now that we got the eyes in, we can kind

of see what's going on a bit more. Maybe

put a bit of detail into the ears, but I

think you probably got the point now of

what's happening. And so, that's quite a

nice fourth stage. And again, we work on

that, we practice. Might be quite a wide

face, but does depend really on the

particular person. The head tends to get

bigger at the back, as you can see

there, sort of cranium that's a little

bit more rounded than that, to be fair.

Bigger and wider at the back. It's wider

is what I'm trying to say. Wider at the

back, thinner at the front, like this.

And there we've got our proportions

relatively good. Crease brush just to

give a little bit more bulk there to the

chin.

A bit thinner around the cheeks, and

there we've got stage three. I haven't

really worried about the ears, but we

can go in again with the crease brush,

we can kind of create a ear shape like

this. I always have to look at some

reference, so let's get some reference

up. Annoyingly, they're all the other

way around though, so I'm going to go to

the other side and zoom in. So, I've got

this Just show you what I'm looking at,

this person's ear here.

And kind of question mark, isn't it?

That's always the way. Then we can go to

the draw brush here, bulk this out, bulk

the bottom out, take this in. So,

control and very, very simple ear.

You could even use the crease brush to

sort of refine this shape a little bit.

So, I'm using the reverse crease,

holding down control, and it kind of

creates that solidity to it.

And let's just sort this out a little

bit as well.

And control after for remesh.

It's a little bit a bad ear, but um I

feel like I've got to do something to

this.

It's so bad.

But maybe this is an area that I need to

practice.

There are many areas, to be fair.

Still looks pretty bad, but you can get

the idea. Okay, so those are the stages,

and that's how I would practice and am

practicing at the moment because I need

to practice more. So, I just go into

object mode, bring those together to G

the next so we can see them all. Control

space bar, and there we have them all

together. The different stages that you

go through, practicing each one. So,

this one a few times just to get the

general proportions. The next one is

again about proportions, getting the

right shape, making sure the more

detailed areas like the eye sockets, the

nose, and the jawline, especially the

jawline going into the ear there, those

are all correct. Then we're starting to

work a little bit more on the details,

so the mouth shape and position. So, the

edge of the mouth lining up with kind of

the middle of the eye there, and the

smile lines coming down to the edge of

the mouth there, the position of the

nose, making sure that's towards the

bottom here, the eye position as we were

talking about, and then it's a case of

smartening up your details in this one.

And I'd do less of this and more of

this, especially if you're a beginner.

Getting to this stage and practicing

getting to this stage is probably more

important than this stage. So, hopefully

you've enjoyed that and you've got a

good way of getting good at creating

faces. If you've got any questions, then

do comment below. Thanks for watching,

and I'll see you next time.