How to Draw Dynamic Expressions

give out lies and gentlemen welcome to draw with jazz oh I'm Jezza and this is a video tutorial in which we're going to be talking about creating dramatic expressions now I've got a file here that I've prepared beforehand which is a set of expressions now these are quite appropriate and usable we've got angry sad happy bored content worried sarcastic glaring we have scared and these are all drawn quite appropriately in fact there's nothing wrong with them and they're usable in scenarios like animation and comics and things like that but the thing that we're going to be talking about is really pushing the boundaries here because expressions like these are like I said quite appropriate usable but sometimes they're not enough sometimes you need a little extra kick sometimes just happy isn't happy enough and just sad isn't sad enough and we may need to really over accentuate some of the characteristics of these emotions too to portray either the humor or the emotion that we're trying to get across the other advantage of learning to do really extreme expressions is that it's easier to work back from extremity than it is to move forward so to give you an example of what I'm talking about I'm gonna go up here to my happy expression and I'm going to get my line ready I'm using Adobe Photoshop for those of you who are unfamiliar with my videos and I'm also using a set of custom brushes by Kyle to Webster which gives me this really sketchy feel which I tend to really like for doing construction lines and things like that so in using this happy template I've got the character over here on the left and I can actually work from that and show you what I'm doing to over accentuate it so I start off just by very roughly outlining where I'm going to be putting the eyes so it's basically the same sort of area now we're going to start pushing it so the eyebrows are just going to be a little more raised now they're anchored at the same sort of point that anchored down here because we can't draw eyebrows up here it starts to look a bit weird so we want to make sure that even though we're going over the top we do want to ground it in sort of reality you know so I've pushed the eyebrows up now that alone hasn't made a huge difference so what I'm going to be doing is controlling the faces shape around him that's why we've gone with this three-quarter angle because a side and front profile is tends to hide the the depth and the shape of the face so in an expression like this I'll be raising the top part and really sinking in this inside eye bit and I'm going to be really bunching up the bottom of the face so we are happy and then we are happy where everything's really pulled up so I'm going to be drawing a line here which is where the cheeks are all really bunched up like this and here instead of the shape of the face following the same as here on left we're really going to work it up and bring the cheeks up like this okay I'm going to really stretch the mouth to be really high and wide and we're going to draw this little line of the side of the mouth now I draw that line when the side of the mouth is pulled into a place where it's pushed up against the cheek and the cheek is as you can see here moved by the muscles of the face and the teeth are even more bared so to the point where I can very lightly draw some of his gums from his teeth and I'm just going to really pull the mouth down like this so it's much more open now it's not just a matter of making everything bigger when you're doing your extreme expression it's about showing more and it's about moving things realistically so for example here on the left there aren't any bottom teeth because his mouth isn't open enough whereas here on the right we're showing not only more of the tongue but the bottom teeth as well because the mouth is so far open so I'm just going to sketch in color in that part and we see how that mouth just looks a lot more open now as a consequence of the mouth being so much more open of course the jaw will be lowered so the bottom of the the face is going to be pulled down a lot further our image on the left so we're really stretching the face we're opening the jaw and we see how everything affects everything else okay so the eyes we're going to be having him look in the same place I'm just going to have the pupils a little more smaller and then adding a bit more of a refining line around the eyes and you can see how very quickly we've built this extreme happy expression and there are some situations where an expression of this extremity would be much more appropriate than a simple happy face you know so this happy face is the expression that this kid has when he's made a new friend and they found out they have something in common this is the expression a kid has when he gets exactly the toy he wants for Christmas know when he gets a rollercoaster for Christmas you know so we've really got to be able to bring these emotions into play if we have such extreme scenarios we want to show those extreme expressions now sad is another interesting one again I tend to very lightly sketch the shape of the full open eye and then I work the eyelids around that okay so sad we're going to work with the same parameters so the eyebrows are kind of scrunched in and angled up like that but I'm just going to I'm going to really angle them up and really scrunch them down okay so it's quite extreme and now we start to bunch things around it we need to create the consequences of these extreme motions so for example I will be creating these lines here from where the eyebrows are pushing up on the forehead and then I'm going to be of course flattening out the top okay and then the next thing we'll do is pull the cheeks down because the face here is quite neutral so the cheeks it just a little rubber alee rubber really there you go I've invented word it just kind of fall and sitting there normally but now I'm just going to be really sinking them down along with the rest of his face but because his mouth is going to be lowered and I'm just going to give him that really wavy trembling the lip as if he's about to cry okay now in talking about having him about to cry let's lift up the eyelids again now this is a different sort of lifting their eyelids in this expression unhappy it's because his face is lifted and all the muscles are working and is really you know happy it's pushed up there isn't a sad expression it's like he's trying to stop the tears from coming which we can draw their sort of brimming on these lower eyelid and have his eyes in the same place now what we can do here with the eyes is have more highlights on the eyes these two bubbles like this and that makes his eyes look a little more wet okay so you can see how very quickly just by using a few key points we can really add extremity to the expression so what was once a simple sad face is now an extremely sad face okay so using things like pushing the eyebrows more extremely moving the facial features and the skin and the muscles around those contortions and then adding little features like the trembling lip or the tears in the eyes so now we're going across here to angry this one's always fun to do a nice extreme angry expression so this one I'm going to start off with the eyebrows because they're going to be doing so much work on top of the eyes themselves so I'm going to start by anchoring the eyebrows here and really giving them this massive arch like this okay now what happens when someone has an extremely angry expression is everything on the inside the eyebrows here scrunches up okay so we have this scrunch up and then the nose as well so if you if you do like a really anger expression you'll notice that all on the top of the nose everything bunches up and scrunches a bit so you can draw some lines to indicate that scrunching okay now I'm going to sketch in line i base and bring up the extremity by raising the lower eyebrow because of the work the facial muscles are doing well you'll notice that a lot of these expressions really bring the lower eyelid up not eyebrow just a lower eyebrow um and it's just quite a useful thing because it it just shows the face working very hard so bringing the eyes into place I'm just going to draw very little pupils like that okay and it just shows that his eyes are just very focused on something he's angry at next I'm going to give the the mouth more of an extreme expression by opening it up more I'm going to raise the top of the mouth which will end up bearing more teeth and I'm going to really push the underbite like this okay so I've opened up the mouth a lot really pushed out the under bite and now I'm going to show quite a bit of his gums bad now that shows this really raw you know open expression of anger okay so we've got everything scrunched up in the middle near is eyebrows his eyes very focused and his teeth bared menacingly now the result of this of course is that the face stretches in a wide sort of direction around the cheeks okay so we can push that and then because of the under white I want to push the jaw forward not too much as to make him look like he's got a big jaw normally but you just want to push it forward a little bit more than in the other ones because he does have his teeth grinding another thing you can do this is something that I've seen in a lot of animes is draw this little shape here it's like a little cross drawn with just these four lines and it's like um a vein popping in head sort of thing if you wanted you could add sweat but I'll just leave it at that for now so now we're going to go down here we're going to talk about the board expression now this is where things get a little interesting because we've happy sad and angry they in themselves are fairly easy to over accentuate right whereas board is a sort of understated emotion it's sort of a you know how do you have an extreme look of boredom well you can and we're going to talk about that now so same thing here we're going to take these features and we're going to overdo it so we're going to push this eyebrow in because that one's sort of pushed in but we're going to push it in more and raise this one up more so give it a nice arch and now I'm going to sketch in the shape of the eyes and work some things around it now this is where things are a bit fun because first of all we're following a similar look here where we're drawing the top of the eyelid but it's going to be a little lower because it is slightly more extreme so it's a bit more bored okay now to add extremity to this expression you add pockets under the eyes so I'm going to draw the eyes and then I'm going to simply drag these two thin lines to show almost like his aging as his so board okay another thing that you can do or another way you can approach it is to have completely flat eyebrows like this okay like he's totally unaffected by everything but I'm going to just work with this arch for now because this two works well okay now in this expression you can see on the left his cheeks are drooping already now let's really push that we're talking about extremity here so I'm just going to push it see how it's almost completely flat here as opposed to here there's that sort of bunching of the cheeks here we're just pushing it straight down into a low chin drawing the face down almost making look like an old man that's kind of the point is because we wouldn't use these in very common situations would use them in extreme situations and that is an extreme special expression for an extreme situation okay next going across here we have content this is a similar sort of more underplayed emotion naturally where how do you over accentuate content well same thing as before we're going to push the eyebrows up a little more we're going to sketch in the base of the eyes like this and the way I would over accentuate a Content expression is to lift the mouth and widen it and then raise the lower eyebrows just slightly not enough to cover too much of the eyes because we don't want them working too hard content like I said is slightly a more underplayed than the more extreme expressions but we really do want to push it enough so we're going to have these eyes looking up this time because he's kind of daydreaming about how content he is and we're just going to push this cheek up around his massive grin and then work the face around that okay and you can see how both look content but one is warping the face with the emotion so here on the right we're really pushing the face around with the expression of contentless that has got so what's next on our list we have worried okay so this one is a little more extreme we can push the boundaries a little more now even though our content and board faces were a little understated naturally you could see that we can push them but face expressions like sad and angry are such that we can over accentuate them even more so worried is one where like our picture on the Left we're just going to over exaggerate all the things that we've already got there so I'm just going to raise the arch of the eyebrow and this is an expression where I'm going to really lift at the lower eyelids so I'm going to bring them almost halfway up the eye so his eyes are almost closing he's lower eyelid to working that hard and I'm going to have his pupils quite dilated so a big bubble in the middle and have them a little more open looking and then with the mouth I'm going to bring it up okay so have him worried have his mouth lift up even more so I'm gonna do this have the under bite at work again but not too much and I'm going to give the bottom lip and arch like this okay and then have it work into the face then what I can do this is a little weird here I'm going to wrap the skin around the edge of the bottom lip okay now you'll see that this is this almost acts as both the edge of the mouth and the lip but also the edge of the face we're really pushing it over the edge that is an extreme sense and we start to show the gums a bit as well draw the face down because it's being stretched down by this very long scared mouth and this is an expression where beads of sweat would be quite effective okay another thing that we can do is similar to what we have here in the board expression how we have these lines under the eyes we can do something similar but it's not necessarily those aging looking lines we just draw lines like this maybe a couple small ones and it just shows the muscles under the eyelids really working as he's so worried okay we could lower the top eyelid but I think it looks better with just the bottom eyelid working now so you go you can see that it doesn't take a huge amount of knowledge a bit of practice and a bit of understanding about how to face it muscles working about how the skin sits over the bones and the muscles so next we have glaring okay so this one's kind of fun because the whole face is kind of like a cat's ass like it's really scrunched up I don't look at many cats asses but who doesn't look at a cat's ass from time to time um sorry so this one what I like to do is draw a slightly downward bent line like this and then have the eyebrows follow it okay then I'll scratch the brows together similar to how I did with the angry expression just to show a little bit of extremity and I'm drawing the aisles eyes under here now in this expression on the left you can see the top eyelids closing now in general having the top eyelids coming down is somewhat received by viewers as a little tired a little less than engaged so when you're doing extreme expressions often eliminating that top eyelid can really help work in the favor so if I did the top eyelid down it makes him look a little less engaged but if I really bring the bottom eyelid up and then the top then the eyebrows act similar to how the top eyelid would act we get that really glaring look without him looking less than engaged okay so we're bringing the face down and now what I'm going to be doing is scrunching the mouth forward more so you can see how here on the glaring expression on the left the mouth is a bit smaller this is pinching in the lips a little bit and looking forward well now we're going to really push his mouth forward so we're going to bring this overbite that he has forward and just give him this tiny little mouth because he's so scratched up and looking forward and as such the shape of the face moves forward with his expression because these muscles are pushing forward like that okay then the rest doesn't move now one thing I should have mentioned at the beginning that I'll mention now is there are some things of the face that never change so for example the ears aren't ever really going to move based on your expression depending on the character so the hair as well and so you notice I haven't been touching anything beyond this point everything here has been totally untouched okay so we've got our more extreme glaring expression what I can do as well is bring in these little lines and I can also shade the eyes a bit because their face is quite drawn and it's almost like his eyebrows are covering his eyes and giving it more depth and adding a little bit of shadow like this it's almost like you're peering through you know something you're hidden behind your dark expression that makes it a more dark literally dark expression next sarcastic again like I was talking about adding the bottom eyelid will over accentuate that expression so I'm going to add this eyebrow in a more arched position and really give them both and over-the-top sort of look sketch in my eye and then follow my other expression by doing the top eyelid but then really bringing up the bottom one like this okay now the other thing to keep in mind too is that the pupil where it rests can affect the expression okay so for example when the pupil rests up against the top eyelid it tends to like I said look a little more disengaged but when it's closer to the bottom eyelid I feel like it it tends to UM make the face look like it's working a little more right so when it's push against the bottom eyelid it's like the art the bottom eyelid is really pushing its way up and it's like the whole face is being lifted whereas if these were drawn against the top it looks a little lazier okay so that's just a something I tend to keep in mind so one I'm happy or angry or things like that if I go up here you'll notice that where there is a top I live in an extreme expression the pupil isn't resting against it okay sometimes against the eyebrow which is different because the eyebrows are kind of like really much more useful than the top eyelid and don't look as tired they work hard okay so sarcastic we're bringing the face and what I'm going to do is I'm going to really lift one side of the mouth okay so I'm going to draw that face up the teeth are normal but you'll notice that that mouth is really pulled up there okay the other thing I'm going to do is bring the bottom of his mouth forward and over accentuate that underbite and even bring out his bottom teeth to show you that um in twisting it in this way it's like the face is kind of leaning in this direction so I would draw this expression with his whole body sort of leaning in that direction because it works in it's like you know I know what is telling a joke or is annoying someone or you know it's just pulling everything in that direction so then filling in here lifting the cheeks and then the George Utz forward because everything is angled in this way the other thing you can do which is just a minimal thing is just add a little line above a really over accentuated eyebrow like there because that just shows that things are bunching up but there's a little more work there and then finally last but not least our scared expression and this is similar to our worried expression but worried is a little more what they're sort of interchangeable but worried is a little more internal it word is a little more in line with what his thinking scared is a little more in line with what is about to happen what's imminent and in front of him it could be a dragon you don't tend to be worried about a dragon you tend to be scared about a dragon going to bite your head off you know you tend to be more worried about the math test coming up right so in over accentuating this scared expression we're going to pull everything out so at the moment everything is a little more just contorted in a way that the worried expression is it's just a little more pushed in and things like that we're really going to open this up now we're going to really give him a fright so I'm going to really pull the eyebrows up like this notice I very lightly sketch the arch before I draw the eyebrows because I want to get them right first and now I'm just going to really stretch the eyes so these are going to be big eyes really want to pull it up open up those eyes okay then what I tend to do when during an extreme scared expression is with the pupils and the eyeballs themselves draw them like this what that does is it's like there's a big shine in the middle of the eye and I'm not drawing much of the black of the eye you'll notice in most of the eyes I draw a circle and then have this little highlight and the rest is black right whereas in this in this case there's no middle black pupil part right it's like it's looking at a direct point of light or a direct thing to fear okay so next we're going to open up the mouth so we're going to have that and we're just going to open literally open the mouth so we have the top teeth and we're going to show the bottom teeth and we're going to put in the tongue shade the inside of the mouth and then with the extreme teeth showing sure or fewer guns work the face around the shape of the mouth okay and then we're basically done but he's not quite extremely scared enough so what can we do to over accentuate that we can add a few of these lines here just very light like that to really push out that fear in his eyes we can add some beads of sweat and if we wanted to if we're drawing a comic or something we could draw an exclamation mark above his head or do some sort of accentuation like that so we can see that in warping the face a little more in pulling the features that are faced a little more like the eyebrows and the mouth giving little features whether it be the vein popping in the head or the curvy lip or the tears you know welling in the eyes drops of sweat and then making sure that the muscles work around the face as well knowing how to work with the bottom and top eyelids and how the pupils dilate and react and look at certain things using features like shadow to create a darkness to the face stretching the entire angle of the face so it looks like it's pulling itself in a certain direction and then of course having that all come together an expression that is over the top that we want to use rarely but as a garnish okay so we don't want to use these sort of expressions all the time because it will soften the punch of when you want to use them but when you do use them like a garnish it just makes the thing a finished work of art it adds a final flourish to the piece so ladies and gentleman I hope you enjoyed this video tutorial if you want to see some other videos in terms of how to draw the face and a head which I haven't gone into in this video I've videos on that as well as drawing expressions them cell I'm an emotion so make sure to check out my other videos otherwise I hope you enjoyed it and make sure to click the link in the description go to the reference files and until next time ladies and gentlemen I will see you later thanks for watching make sure to subscribe if you enjoy my videos you can download the reference files from this tutorial by clicking the link in the description and remember to share any art animation or game you make on newgrounds.com until next time see you later

Channel: Jazza

Views: 513,746

Rating: 4.9625401 out of 5

Keywords: josiah, brooks, jazza, jazzastudios, animation, game design, media, newgrounds, armor games, flash, humor, drawing, how to draw, adobe, photoshop, cintiq, 24hd, Adobe Flash (Software), tutorial, Artist, Painting, Educational, Software Tutorial, CS6

Id: qAKqt4kxMBE

Length: 28min 45sec (1725 seconds)

Published: Wed Mar 19 2014