Original subtitles

Now that we've learned the facial proportions, we've learned the forms of the head, we've learned the facial

features. I thought it would be cool to do a demo of a head.

Putting these features together and also touching on the rough and the refined workflow a little bit.

That we will be learning more about as we get further into the course.

And you know, I've always been pushing you guys so far, to really just keep things simple.

Be Rough, be messy, be loose.

You know we're not striving for prettiness at the moment.

We're striving for correctness.

And so, I will have a bit of a nice look going on here.

The end is the refined stage.

We will get there in time.

Don't even worry about it.

OK.

So let's get our basic forms in.

And I thought one of my favorite topics to draw, just attractive girls.

So I'm going to get a head shape in here, using what we've learned, and add a neck in and I'm thinking

about these forms, even if I'm not explicitly drawing through everything. I think about every single form.

Very much in the exact same way that we learned, well in the exact same way that we learned should I say

get the nose shape in there, and just get that ear height . correct.

I think we can define the top of them just now,

going to draw more of a cartoony style character here.

Get her far side eye in.

use our eye shape, eye lines that we know, and keep this one more narrowed,

as we've also learned. Keep the eyelid heights the same, let's have her, kind of, have a excited kind of happy expression,

or a slight, slightly surprised happier type of expression,

and I'll actually not, intentionally choose to leave out some lines, and it the viewer, kind of, have those

lines implied to them. Doing our nose shape with the ellipse.

We will have her looking to the right, and I'll draw her iris in there.

OK. Keeping it rough

So we're doing the rough drawing here.

Nothing fancy, drawing those lid lines.

She looks a little bit upset.

So, can you just, I just want to adjust this so that the eyebrows are not tilted so much,

and get a mouth line in there.

One third roughly, can indicate the anatomy of the lips, corners of the mouth, will open her mouth up a

little bit.

Indicate that bottom lip shadow,

and get her ear in relatively the right height now, adjust her jaw line, I think her ear feels a little bit too high.

No problem just erase it.

It's only the rough.

I don't think we'll draw hair in, or anything.

Not until we get there at least, till we get to the ear sections.

I mean the hair sections, mind you. Draw in the rough of the ear. Let's take that section out. We can rough in

those parts that we've learned.

Just give her a little bit more of a lobe, and ear lobe section,

we adjust her head position there, and something that's good to do, whether you're a digital or traditional is always

to flip the image, because you get used to looking at the image from a particular angle.

And when you do that, things can escape you- alignment issues can escape you.

So I have "control F" bound to flip image horizontal, which you can find, if you're using Photoshop, in

the image menu, image- image rotation- flip canvas horizontal- and you can bind that in the shortcut key

section, which is here in the edit menu.

If you're on paper, just use a mirror, and you just place the mirror next to the image.

And you can see the opposite version of what it looks like flipped.

So here I'll flip it, and I feel on flipping it that, I wasn't following our proportional guidelines.

exactly.

And I want to move the eye a little bit in, and of course digital is great, because I can just select

it, move it in a little bit, and also probably move this one in just a little bit more to the side. If you're working

traditionally, you'll have to obviously erase and draw over.

But you don't have to do crazy work, it's the rough.

So you can just do a little bit of a light erase over that.

Alright.

Flip that around.

Perhaps in this one I'll indicate her top lip a little bit, and indicate her teeth.

Perhaps her top teeth a little bit, I'm going to change the shape here.

So when you really have these forms down, it's quite easy to just, get a little bit more creative with

everything, because you know the basic forms.

So now you can actually start thinking about creative things like "Do I like the way this looks, do I like

the shape of her lips or is her mouth the size that I want it to be etc. etc. and that's really where you find

your freedom in art, you find your freedom in realist art, particularly in the rules, you find your freedom

in the rules, you know the rules.

And so once you know them, it's really up to you how you want to use them, how you want to bend them,

and turn it into your own work, getting your own look and feel, in your own style, into how you want to

create characters and things.

I think there's a big discrepancy in the eye size here.

So we're just going to adjust that a little bit so that the bottom eye line lines up.

So you always want to make sure that the bottom eye line lines up when you're doing layout based on our proportional

learning.

Based on what we've learned with our proportions.

And if you have a kneaded eraser, if you're working in traditional medium, that's what you can do to

get this effect.

When I'm erasing here, I'm using a soft brush and the brushes are included for Photoshop in the course,

so you can download them, and they're very, they're very much all the brushes I really use, gathered

from all sorts of places, just adjusted slightly, so that they act a bit more like traditional medium.

But nevertheless the eraser brush here, is this soft brush here, soft up flow, it just means the soft brush and

very soft edges.

The opacity and flow I am using on the eraser, to give me a nice soft erase, I press lightly on the tablet and

I can get a nice, soft erased feeling there. I am just going to adjust her eyebrows, make them a little thinner maybe

not so high up, give her a bit more expression.

Get her eyelid in there.

This one's in and I'll then add in her pupils.

And I'll just add her eyeball in there. Keeping in mind this space, and then you can actually just adjust her cheek position

a little bit, bring in a bit more down, like this give it slightly wider cheeks, and a softer face structure

here, maybe a bit of a thinner neck, make her look a little bit younger.

And just redoing that ellipse underneath the nose just helps me feel out the plane, right, at the bottom

plane of the nose.

And then I would probably call that relatively done in terms of the rough and, you know, obviously if

this were supposed to be a finished piece I would do the hair and, you know, all of the other details.

Not that many more details there's mainly just the hair and maybe the clothes and things like that.

But for a rough this is pretty much good enough.

And depending on the style that I'm doing, or how far I want to take the piece, I may just softly raise

the whole piece.

So I'll do something like this.

Just soft erase the whole piece and then do a cleaner sketch on top, or if I want very clean lines iI'll put

a new layer on top or I'll drop the opacity of this layer, and do a more refined sketch on top of that.

If you're working traditionally, you can use a light box.

Where you really just do rough on one piece of paper.

do your refined sketch on another, if your refined sketch is your final-

Great.

If it's not, put another piece of paper on top, light box then your inks, with your multi-liner pens or

your india ink or what have you.

So in this instance I'm going to just do a refined sketch on another layer.

And here is where my brain, my mindset shifts, my brain shifts.

We'll get into this very soon.

We have a whole lesson on this process.

But my brain and my mindset shifts from rough structural accurate type of thinking, to now more just

being creative and stylization thinking, more, more of that, dare I say, graphic design type of mind set.

So everything here is in place, so my focus now is, I want things to look clean and professional and neat.

I'll keep my lines loose.

I'll be thinking much more about line weights now, and I want to get those clean lines in on my drawing.

And so we've put in all our facial features which is great.

We're using that structure we've learned for our head from our proportional model and from our form

model that we've learned, making things dynamic.

And here I'm going to just do that exact, exact kind of flow we learned for during the ears, this is the three quarter

one, so I wan that overlap to be there, draw in these lines draw in that weird, kind of, bottle shape that then

curves, one line here, indicate another one there, put that there, no that's not that's not right.

We'll do it again, possibly a bit of a too thick line weight here that I'm using on the pen on the pencil

should I say, but it's no big deal for this demo.

bring the head out the back.

She looks a bit crazy she's got no hair.

Just following my forms, and I'm drawing the eyebrows.

You know keep them very simple in their design.

you can say I'm trying to use as few lines as possible, wherever possible, just keep things simple, get

the eye shape in, and it's really a good idea to thicken the top eyelids line.

It really makes the eye, kind of, stand out and pop, and I can see now ,as I'm doing this even, as I'm doing

this, how the corners of the eyes don't really meet up super well, so I'm going to actually take this

opportunity while I'm refining this to get in there.

I'm not even going to draw in the rest of the eye just for this particular stylization.

We'll come here and I want to make sure,

ok this is a little bit too broad in shape you know.

I've said to us that we really want to have that kind of diagonal kind of a shorter shape for the far

side eye. It shouldn't be as long in terms of its length like that.

So this one is about double the length which is good.

I do use undo from time to time.

Pens and paper does not afford us that privilege.

Will just indicates some lashes here.

Just a couple, I won't go crazy in this particular style that I'm drawing, it's like two usually three

I put three in

draw in that eye.

get our shapes in here just a little bit.

Once again I'm not even going to draw the inside shape,

I'm just going to imply it.

So the viewer's mind can make up that inside shape

and here I don't even complete the iris shape either.

Again I'm implying that the shape finishes, and implying as much as you can.

Not too much obviously.

No you have to have some indicated details to help the viewer's mind complete shapes, but implying

helps a piece feel very natural and not forced.

Not overly detailed that you're kind of micro detailing.

Not that I'm saying you don't need to draw, or that you shouldn't draw in the full Iris shape, for example.

But sometimes you can just imply it and the viewer's mind takes care of the rest, and it's a great time

saver for us as well, especially when you want to get a lot of work done quickly, and draw in those

pupils, I'll put in highlights just for fun.

Put in her eyelids, and you can see I don't stick exactly to plan, especially in the sake of, the interest

of looseness.

I'll just put a nice sweeping, loose, dynamic, directional line with that nice taper in there.

Get her nose in.

Just kind of give it a softer bend, put in the nostril.

Once again more implying detail here.

I'll just kind of darken the top section of it up, so it looks more like an nostril.

I could put in that wing line.

Maybe I don't have to based on the style.

I'll just lightly indicate the top lip draw in that top lip line, using the details we've learned, darkening

that top lip line.

It's important to do, remembering the face is round. I know I went on a bit about that, the corners of the mouth.

Let's pull that shape down a little bit there.

And then stretch it on the far side.

Imply her teeth shape.

Keeping it round, for the sake of this,

I'm just going to darken this section just by adding some lines to shade it in there.

And the bottom lip shadow here.

All right.

And in a nutshell that is really our adding our facial features demo, with a refuined stage on top just to

make things look a little cleaner, and neater, but for your purposes, I would strongly encourage you to

just stay at the rough stage and make sure everything's right.

And when you feel that it is right and everything is in its right place, and the proportions make sense,

and the work feels good to you, then move on to the refined stage.

But most of the time you want to spend as much time as you can, on the rough stage and make sure

everything really is correctly placed, located and positioned before you get to your refined stage.

And this is the end of the demo.

Let's move on.