5 Mistakes Every Artist Makes When Making Faces - Art Fundamentals

hey guys have any more confirm flip normals here in this video we are gonna be covering some of the most common mistakes that we found that most artists do when they're making faces this is this is relevant if you're doing any kind of drawing or sculpting or pretty much any kind of face work so we were specifically going to be talking about the mouth shape how to do lips really really have to get eyes right the structure of your nose and the importance of skin when it comes to sculpting so let's get started right away here with with the thickness of the ice this is something that it's such a common issue here that this is a very true representation or see a lot you see the eyeball here and then you just see this incredibly thin eyelid here in reality eyelids are quite thick yeah we're gonna be looking at some reference here so first we have a bunch of questions what's soft orestes which you can use around this is called pure breath we actually did a video about this like the i'ma go top productivity tips or something I will link it below so super useful you can use it here just to move it around it means suck you you don't need to monitors so specifically what we're looking at here is really the thickness here off the I hear that of the eyelid like we said this is what we see a lot of time here that is just this incredibly thin line here yeah in reality the aisle it is actually quite thick if you look at some of the old Bernini style sculptures and some the old like marble sculpture it's really this like clear lid here it's just like there's a plateau here almost and also I mean especially for sculpting it can sometimes help to over exaggerate the thickness of the lid just to get deeper shadow in there yeah for sure that's actually a really good tip because if if your eyes aren't working nothing is gonna be working yeah so whenever we do this I prefer to just use some the inflate brush and just really just carve it up here smooth it out a little bit but just really just add the thickness to it just weeding just we have that one thing as well which is super is include ipols this is something I see so often that you're sculpting and and it's just as flat sheath here like this and then you put a rival and you're like oh crap yeah so really just make sure you have an eye pull in here that that's the way that's that's the reason the eye is shaped the way it is because you know there's an actual eyeball here yeah I mean if you have someone who's who's lost their eye it's the the shape of the lids look quite different here and then they put their the glass eye in there and then you know you have shape again yeah exactly I used to work on on a film it was the mummy smears gonna where we did like zombies and they didn't have ice on them and we just squashed him like this we just made them completely flat yeah because why would they have why would they retain the shape yeah so undo all this so when doing this as well also just took a reference yeah like always always I actually have a mirror here on on the left here which I'm always just looking at when doing this your own face is great reference yeah it's a pretty good also if you have a good face that's so make sure you have your um make sure you have your eyeballs in you and then we're just gonna start sculpting like this is probably not gonna look super amazing here because we're doing this pretty quickly we have a lot of stuff to cover but when doing when doing eyeballs like this I prefer to use the damn standard brush to block in where the eyelids are so this is block in some thicker always here another really important thing you can do if you're if you're struggling with getting your eyes to look right even though you're using let's say you're using a sphere is you can look at it not just from just the front and the side but actually from below as well if you're looking at it from below now you start to see the curvature of the lid this this is a really important angle to try and get the eye right because it helps you to see like okay this part is flat yeah that's very good point what I like to do as well is also I like to just carve it in here just like so it's not infinite in terms of the thickness it actually has like a finite thickness like this it's not strictly speaking necessary it's just it just helps me for most cultural point of view mm-hmm the inserter I real doesn't have to be pretty I mean it's the inside of the eye there's always going to be an eyeball they're an interesting thing I think was I from a Filippo video he was talking about sculpting and stuff that's what he does is the thickness of the eyelids is actually the same all the way around the the thickness of the lip doesn't actually change but you you're often seeing that when people are sculpting is that the mistake can be that they start to thin out the lid as they get closer to the corners of the eyes yeah you I mean it I like logically will make sense I feel like because it's like okay it's tapering towards there it's probably gonna thin out but actually it actually doesn't yeah it's pretty interesting yeah are you if you guys aren't familiar would fleet before oh you should definitely check out Felipa fro he is mmm he's a traditional sculptor yeah does marble clay and everything he actually has some really really good videos that I would encourage anyone who's doing bodies or especially faces to check out truly fantastic stuff yeah so woody Isis well here it's really important to get this region right like a tear duct yeah like this you can see here on the reference here the tear duct is actually a pretty big part of the eye here yeah actually sometimes you can have people struggle with the shape of the eye and they'll make the they'll make the the eye the opening for the eye too big because they don't consider the the tear duct or the Quran can occur on killer um because they don't consider the qur'an killer so you end up with a weird shape but actually the qur'an killer can help you restrict the space in there so like it becomes more natural with for the ayah to sit so I'm just gonna quickly just get rid of something like eyebrows here because that's this way too creepy looking is this creeper for a bunch of reasons here one thing is well when you're doing with faces is planes we were have a quick we have a quick reference picture here this is from actually one Felipa throws videos yeah when doing faces you've got to get planes right you just really just gotta get this kind of stuff in here I will do a separate video on this this is just a little bonus tip here get your planes right even if you're doing something feminine like this don't even sure if is feminine anymore but that's just creepy but I get you planes right and then you can solve them off afterwards so I mean even if I was doing something like like a woman here I would still be I would still be doing it with this harsh brush and then just go over and just smooth it off afterwards yeah so first tip here is really get your thickness of the eyelid correct huge important I would actually add even more thickness to this I don't think this has enough thickness so you can see how far up it goes here so I would probably even do that like it waked good making it way more up here hmm and it's actually most people have it so okay I want to reiterate is this is a big difference between eyes depending on race yes so also where the eye sits within the skull if you have some if you're working on a Asian model for example the the eye will be pushed a lot forward like that like a lot more forward than you would on the save something like this caucasian model here for example so that's really something to consider that that you have to make it right but also the way that the top part of the brow sort of tends to add weight to the top of the lid you know it is in some people like me for example yeah I have I have more heavy upper lips there so I have more skin covering the top lid some people have really pronounced upper lids because they don't have a lot of skin there but it's really individual how works would really look at your reference there yeah contrast is enough first-first long offence use a mirror and then realistic references but that's also not working working saying here like if you are doing like more and more south southeast asian eyes you you would you wouldn't be doing it like this they are they do look quite different in the Africa so now here we have pair of not super amazing eyes but they had you have the general thickness to them now at least with their better so really just consider is considered the thickness off the lids here will do proper videos in the future where we really just show you how to make proper eyes instead it is like 2 min hack so next up what we're gonna be looking at is the knows what a feel a lot of people do when they do gnosis they just do this kind of stuff they have they have a potato on the front of face and then you're just doing like this is no shape thank you and it just looks weird what you need to consider when doing gnosis is there is a clear structure to it and this drawing here is beautiful first off you can see all the skeletal stuff here so you can secure to see this part here is bone and then this part here is cartilage so that's also why you can bend that part as well so what I'm doing those like this I'm generally start off with a foundation like like this which is potato what holes in it but then I'm refining it properly I'd like to really think about these pieces here are separate pieces I think this is so useful yeah and again look at reference and what if we do this well I also just touch my nose a lot let's go what does it feel like your noses are one of those things that it's like it's as individual yeah as our fingerprints that might be a lie but or is any other part really yes there's there's so much variation in noses as well so really just look at some reference there yeah so I've good reason to find this break up here to be useful is that well what general variants here of the noses are the size of these and the shape of them so if you want to have if you wanna have a nose which goes more inwards here this would just this would go in a different way here this nose here would do something like this because of the shape of them so if you want to just really look at the differences in in these individual areas when doing noses like I wouldn't just miss serve a scale up everything I would just define each individual part by itself and then obviously you'll also go in and soften stuff up in the end as well you can actually see on some people you can actually see this very clearly but on most people is just like one general yeah the divide in in I can't actually remember what that shape is caught for like the nose there it's it's some some people have very clearly I find that most people have a very soft so yeah all business no shape to it so once you're done with that you just start swinging it out here and then you can start to like decide it like if I was going for a more appealing I would just make this like everything that's a bit softer really mmm just go over it but I always start off with big strong shapes here so yeah and you're gonna have something like maybe it's a stronger man you would have a thicker Ridge for the nose that kind of stuff yeah for sure nose is a weird it's it's a tricky one to get a right I don't know for me personally noses is always like the first thing I looked at on a person I don't know why because they stick out or they do they do stick out thanks so much contrast I don't know it's just it's the first thing I ever I looked at you identified and pasted onto now I do I do I'm so obsessed with nose so obviously it still kind of a sculptor but point here is get the plains of this right get the structure of this right how this realness locks in here and goes around here and you have the plane here and this stuff just takes time like you know we've been doing sculpting for a long time but I can't just speed sculpt the correct iron nose and make it look super appealing that is that is tricky that's terrible honey whenever you get started with sculpting this file anyone do some like this don't worry about speed speed is very secondary to quality yeah like when doing this obviously we're doing a video you got it you can't just be super slow do it in a fast manner but uh quality over everything take your time if I was doing this properly I would look at a bunch reference use my own nose it's really dis look at this well pointers structure yeah really look at that next up we are going to be looking at lips and the mouth shape specifically the mouth shape first so what I see a lot of a lot of people doing most people actually is the mouth it's just kind of this flat thing here like this this is a very common issue as you see beginners doing incredibly flat and not a whole lot of shaped hood obvious we just smooth down a generic model here but the reason this doesn't work here is because you can see it our teeth also this looks amazing so the the lips are generally going around the teeth yeah and the teeth are obviously round so you use as a starting point we will just look at the shape off of the mouth here it's very round yeah that's again this is the same thing with the eyes a very important angle to look from is from below like looking from below you'll see sort of the curvature from the barrel of the mouth so that's that's an angle that I feel is overlooked sometimes and when when it's overlooked you tend to end up with a more flat mouth yeah yeah for sure I'm also gonna hide the teeth here or by hiding teeth I'm gonna do that by moving the lips together because if teeth generally look pretty weird if you unless you're doing something lifelike big smile yes mother so weird yeah generally close yes close the lips discuss it districts weird one thing I do is let's have a little line here so I usually feel there is this is a again bunch of individual variation here but there is often a line a straight line between the bottom of the chin here and the tip of the nose so what I mean with this is the lips here are not straight there isn't the lips are not like this yeah the bottom lip is let me show you the culinary here this is the common air the top lip is this itis is the same as the same plane here as the bottom lip this this is there's bunch of individual individual variation here but it's a general estimate yeah having a general line here is is fairly true it's actually the same thing for the eyes you'll have a you'll have an angle that's actually similar you will always have the upper lid be protruding out further than the lower lid same thing with the lips it's like a common common thing of the face yeah so sure so when doing the lips here what I like to think about is first you've got to get the roundness right if you don't have that nothing matters you can as many details as you want in the lip but if the roundness doesn't work it's gonna look weird yeah and then I yours were from general to specific so you don't you don't start off again details until this ship here is working so try to get try to get this shape word like Gordon said the top lip here is protruding more out like that I guess Simpson scary and then I generally try to get some oval shape going on here just make the lips lips you have a lot of volume yeah well for some people I guess some people again there's so much individual variation for lips that's but I mean bigger lips are generally easier to make appealing I think but it also depends on the character you're sculpting so three of us and then once we have that once you have a general shape here some specific stuff or one talked about here it is this is how I like to think about lips is as the top lip has three shapes and the bottom lip has two it's kind of like a little like a little American footballs inside of this so um let's just make a little polygroup for the top lip here now the way we're doing this it's just control dragging and just ctrl W to make a folder producer guys like this so I just want to be able to have control of this so the bottom lip is generally the way I like to think about it is like to the two cylinders two little footballs going this way here so there is often like this little gap in the middle again bunch of individual variation which is really important that you take it into consideration but um two little balls like this and then top lip is three so you have one in the center one doing this and then you have two going here this is just to create some general volume for it once you have that it do everything just kind of falls into play our film falls into place started to play do English today very hard language so at least three little these three little shapes ER and already well let's go say already already look sorry about that least terrible let's look at that lets actually refine this so let's make sure this curve here is correct and obviously make this nice and whenever you block in this kind of stuff out here it's gonna look like crap just because you're blocking out two planes here you go to smooth everything out afterwards but in the beginning it's just gonna look like crap because you're blocking it out yeah that's something we talked about in a video as well we you're you're at this stage here and you're like do I even know anything do I know anything about art at all and you just gotta give it time I feel like it's so it also like to depends like so my my approach for lips it's like it's kind of the same but a little different so instead of having these footballs I I block it into planes but it's the same kind of planes like this it's just flat footballs instead mmm and the pic it's just it's a good approach like to you know you just divide it into the shapes and then when you have shapes are more manageable then like individual aching simple shapes are more manageable than a complex you know mouth for example like show me the shape of the mouth mouth shape but splitting and into it's like individual parts makes it a lot easier for you to both remember and to reproduce afterwards for sure also the tip as well for the eyes as well you know for the mouth I find that generally the the corners of the mouth go all the way up to like around the center of where the pupil will be so something like this are on the center and then will go all the way out here so maybe the mouth here will be a bit wider again bunch of individual variation here I also we have the corners of the mouth the corners mouth is incredibly important the way I'll prefer to do that is to first we need to pinch this in a little bit because there shouldn't be any open space here so we can do that again using the move to block move to blow move topological brush Jesus that was a Harvard so just make sure this this kind of goes into one corner here and then we can just refine out of it as well remove topological brush is fantastic for this guns near another another really important thing to keep in mind especially with the corners of the mouth is actually like the corners of the eyes as well is that it actually goes quite deep in like it settles inside the mouth and like like something like this yeah and often what you'll find is like the flat mouths often don't get that right either is that they sit them too far out on the face instead of getting it sort of inside the mouth yeah when doing this as well when we're finding stuff I find that using I generally use the alpha oh six here but then removing any alpha for it because then you just get a lot softer resolve for me yeah I most of the time I actually just i scoped without any of them it's really really comfortable yeah it's real nice shapes so for the corner here as well there's also like this shape going over it like this like overlapping this a little bit or in some cases a lot more in a little bit yeah yeah you can see that you I mean some like the barrel of the mouth actually changes quite a lot again depending on like your ethnicity so if you have something like an African sculpture and the face for that the barrel of the mouth would usually protrude a lot more you have like a lot more like a lot thicker so it's like shape to it there so just is just really bad now yeah for this again the way it would fix this cuz I'm not gonna fix this like racing right now that's again that's not the focus that video is you can't just be sculpting stuff and not have an idea the way is look at reference look at anatomical charts of what's actually going on or look at individual you look at yourself in the mirror and just got this her to write as well to look right so that's general the lip here and next one we are gonna be looking at the skin skin is something that is just often forgot that is like the last thing people do when you are sculpting is you kind of just treat it as an echo shape sculpt and we just means that you're just adding all this muscle you're going to take the muscles here you're looking at the muscles all around I love your muscles I'm here and you're like done yeah obvious no this extreme but skin is just incredibly important let's if it's a reference picture here which is this is a 400 year old woman really fascinating stuff here you can just see how the skin has weight to it so if we're even if any characters skin still needs weight so for so for this kinda stuff let's just add some weight to it obviously the more weight you're adding to the skin here the older it's gonna appear to be that's fine let's just do that yeah usually what happens is your as you do stuff when you know as you grow older you do stuff repeatedly with your face and those muscles start to tire you see that a lot with the platysma of going through the neck weights at this yeah exactly so see here so that really contributes to that old person look so everything just starts to Sag a little more skin loses its elastic mostly elasticity like you you just lose a lot about us as you get older so really take that into consideration the weight of the skin here I think that's that's one of the most important things in order to get make make a sculpture feel right it's just skin has so much weight to it and it's affected by gravity the reason it hangs down here and doesn't like go upwards you know it's it's gravity is doing its thing here yeah so if you live in space I guess you still use your muscles yeah you still use muscle you see that that's often like what why you get like wrinkles around here as well because it's compression you get you get wrinkle wrinkles where there is high errors of compression you don't get a lot of wrinkles like up here because you know there's nothing really going on going on yeah exactly I mean you can't and so everything this sort of has repeated stress applied to it like the corners of the eyes stuff when you get the crow's feet it's like we're constantly blinking whenever you smiling compressing the skin and the skin gets damaged over time yeah for sure so obviously now this person looks a lot older as well just cause we added just more some more planes now and some more just more weight to the skin here so that that also that's also true if you want to make something look look and feel young you just removed the weight it's can you just do is smooth everything out but if you want to make something young you still need you still need specificity you still eat sharp lines for something like yeah like the mouth nose and all these kind of things like the hardest thing for me to sculpt this children so tricky because if they are first of all they're like featureless hmm and the proportions are so different yeah and they're so soft like I had a task once we had to do a baby and you know it's a couple months old and there was nothing there's no features nothing was just like fat cheeks tiny fat nose and fat eyes but it's just because there's so much fat in there everything's so smooth and round it's so hard to pin down okay it was a way to wear my landmarks now yeah that's incredibly tricky to get right yeah but when you were doing that the weight the way you really just figure out is you just get you just get it put in the skull you put in the skull underneath everything and then you put in the general muscles then you put in a lot of fat yeah and very smooth skin on top as well you use the inflate brush inflate and smooth that's pretty less really a key thing that if you want to make something feel appealing you just want to have less planes yeah if you want to make something feel like more like monstery or like a little bit harsher you would go in here and just really just add planes to everything soft appealing no planes hard and I wouldn't even say hard just yeah how do you say that just a bit more a bit more visually interesting maybe it's scary yes scary I guess it's like it's a different kind of interest right because you you have something that's soft you have like a little baby face you can still be very very visually interesting and a feeling but it's in a different way because you play with the proportions or something yeah whereas if you have a lot of breakup on on the face or something that's what you look for yeah so I mean I can just keep going on the scope here forever and also this year was about this video here is about the specific features of it and not likes how to sculpt the face that's something we can get we can get into a few more in future as well but key things here is remember that behind the eyelids there is an actual eyeball there's a very clear eyeball for that yeah behind behind the mouth you have teeth even if you know even if they aren't even if you don't have teeth you still have the sculpt yeah you still have the skull you still have that very clearly yeah for for the nose we have a clear structure as to how this works and even if you like whatever you're doing if you're doing like a baby or you doing like some kind of crazy or lord of the rings' work or whatever you will still be doing this this is all this all we talked about here is just a foundation for it it's like sculptural foundation for it so I think that's pretty much it unless there's something else you want to talk about it yes remember to look at your model from different angles not just the front and the side very good point that is probably one of the most common mistakes I see mmm make sure that your lips and eyelids are like the top lids and the top lip they protrude further out than the lower lip and lower lid I would say those are probably most common ones for me together yeah cool we hope you learned something about the face from this video here yes and you know we'll be updating you guys in the future with more specifics you know more in-depth one more in depth videos about individual parts for sure yeah so you know if you want to stay tuned for that make sure to like comment and subscribe you

Channel: FlippedNormals

Views: 352,090

Rating: 4.8884153 out of 5

Keywords: 3d, sculpting, zbrush, concept, maya, tutorial, autodesk, film, vfx, animation, twitch, mjthehunter, flippednormals, henning, morten, creature, character, texturing, sanden, jaeger, substance, painter, designer, education, foundry, pixologic, nuke, cinema4d, art, fundamentals, art fundamentals, art school, art tutorials, drawing tutorials

Id: vIKxffo7YsU

Length: 28min 26sec (1706 seconds)

Published: Mon Jun 04 2018