How to Draw Faces | Focus on Eye Placement

okay so let's start off with the first headlamp and these are just basic headlands they're designed for um for practice basically and we don't take them to a full rendered drawing uh i try to when i do these alone i try to do them in 20 minute blocks like 20 minute per head but when i'm demonstrating it usually goes a little bit longer so i start off with a circle and i'm looking for the head tilt by putting my pencil up to the eyes and finding that angle running right through both eyes and she doesn't have a very she doesn't have a very strong head tilt but i'm going to exaggerate it just a little bit and then i'm going to find the center line and those two lines will give us the head tilt overall or the face and that's called across as a cross of the face so now i'm going to guesstimate where the hairline will be i'm going to make this the brow and then bottom of the nose and then actually i'm going to bring that down just a tad and then bottom of the chin where i think it might be so now i'm going to measure those three uh sections of the face and comparison to each other to see if i got in in the ballpark if i need to adjust something so i'm going to measure the first one i'm going to measure is the bottom third and then i'm going to compare it to the middle third using my pencil and my thumb to find that length from the chin to the bottom of the nose then bringing up and compare it to bottom of the nose and where the brow is and they're about equal maybe slightly the chin might be slightly longer but in this case it looks like i need to bring it up a little bit let's see and now i'm going to measure the top third from the hairline to the brow and when i say brow i mean because she has a really strong arching uh eyebrows so i'm talking about where they begin the eyebrow begins so not really high up but like right where they come down right next to the glabella and this case they're almost equal from these two sections so now we have an idea of the relationship of those thirds of the face and now we're going to find the width of the face and compare that to the length and i think i'll just go ahead and measure from the outside back of her ear to her cheek using my pencil and thumb if i can hold it steady which is harder than it looks and then compare that to the length it comes to about right there so it's exactly the length of my pencil and if i just eyeball where i think her cheek might fall on this side so her back of her ear is over here her cheek is over here okay so now we know the width compared to the length and now we can go ahead and start mapping in more information so i would start with sometimes i go right into the nose but i like the nose because especially in the three-quarter pose if you can get the angle by holding a pencil up or just eyeballing it you get that nice the bridge of the nose that nice angle and then you can judge from the tip of the nose to the cheek that's a good distance to find so if you pull that cheek down just making this rough sketch of the outside of the cheek on this far side so we have something like that i'll probably have to bring it in a little bit it looks like it's a good place to start now i'm going to find that angle the bottom of the jaw you can eyeball it or you can just hold your pencil up i know the ear is over here so if we take an angle for the front of the ear something like this now to find the bottom of the ear i'm going to hold a horizontal line with a pencil and it looks like it comes to about right here and the top of the ear right through the eyes which might be about right here we can always adjust this later if we're off and then so let's go ahead and put in the uh the neck for her and it looks like it might be about right here and then the back side the rhythm of that neck right there the neck muscle and she's not wearing a shirt i just not realized it so let's go ahead pretend like we got a shirt on her so i like to um show that that muscle rhythm just by um vignetting it with a what looks like a shirt there we go so now we got our basic head all locked just to outline pretty much we got something to work with now so let's go up to let's do the width of the nose a little bit so the nostril probably see it looks like it's about right here just doing like a block shaped structure tip of the nose we do a little v-shape and pull this line down around the nostril and you can see a bit of our nostril on the far side and let's try to keep that line that head tilt line on every feature that we do whether we're doing the mouth or the nose because we want to keep that head tilt let's see let's go over to the eye socket the side plane of the head and then rhythm on the forehead and then for the mouth she has a strong jaw and a full full uh her lips are really full so it creates like this really strong cylinder and you can use the um the nasolabial fold or just think about the cylinder shape either way and here we have the mid cheek furrow which you don't even see on her really maybe it catches a little bit under the eye right there for the most part we're just gonna use it as a reference and then probably erase most of it out especially for doing like a full rendered drawing so the corner of the mouth it looks like it's just outside of the nostril on this side let me come across make sure we get everything lined up and the corner of the mouth is just on the outside of this nostril and then this lip is shorter on this side because of the perspective and it's longer on this side and her mouth is slightly opened let me check somewhere okay i decided to check i thought maybe i didn't turn on the mic uh it wouldn't be the first time but it is on so anyway so bottom of the mouth let's go back up to well let's keep going down here there's a little shelf underneath underneath the bottom lip and then there's this nice rhythm right here and then they also have the chin rhythm so let's go back up to the eyes let's put her arching eyebrows in kind of sweep from side to side and it wraps around that bony structure the side plane and side to side nice rhythm the root of her nose is about right here this is the glabella wedge shape right between the eyes then basic structure of the nose the main cartilage the side cartilage go ahead and put in the nostril so okay so now we got the mouth placed then we got the nose and i'm going to say the eyes not exactly for last but i'm going to save them um towards the end and then go into detail on how to place the eyes and lock them in real nice and tight so they're not like once higher or lower than the other for right now let's go ahead and work on the side of the of the head and this cheek i'm going to round that out more so i'm going to have overlapping lines right here so this one comes in then there's going to be the chin will pick up about right here and then there's going to be this little bump right over where the corner of the corner of the mouth will be so you get this line tucked in behind these two and then the bottom of our chin out here she doesn't have strong cast shadows in this in this photo reference which is fine because we're just doing a headland so i thought it would be okay and it's a little bit different than what i normally do it's a little different um normally there'll be like strong cash shadows everywhere but i'm just playing around and see if i can get away with doing a reference without all that cast shadow but i'm going to go ahead and pretend there is one right here on the neck let's put this rhythm line for the cheekbone and also helps us to find where the eye will be sitting in and then underneath so there's a plane change right here from these two quadrants and this one here catches light differently and it helps you place those half tones let's see let's go ahead and map in her hair a little bit better so her center line is about right here she has a slight widow's peak very slight my hair comes across and as it comes to this plane change right here it falls down and then goes over the zygomatic arch and tucks in behind the ear and behind her head right here sticks about right here let's see and she has curly hair hair but it's like pulled back in a bun really tight so we are going to a see bit maybe some waves and then the bun is right here kind of sits really low creates like a heaviness kind of feel it's kind of cool got all kinds of rhythm lines everywhere kind of ages the face so you kind of want to use them like pull them out later and it'll look a lot better for the age that of the person that you're drawing so we got a good head placement good we've got the nose got the mouth the ear so i'm going to put the eyes in now so what i am looking for is the line that both of the eyes are going to sit on especially the inside corners of the eye i want them to be on the same line and remember that head tilt that we had so you want to keep that i want to keep that line all the way through so remember that mid-cheek furrow right here so that comes up right here and there's a space between the nasolabial fold and that makes mid-cheek furrow and i'm looking at that space and i'm looking at her and i'm trying to decide if it's in the right spot it looks like it might be because a lot of times if this is too long the eyes will sit too high up if it's too short it'll look squished and the eyes will be too low so to me it looks like her eye will fall on this line the inside corners and actually sometimes on a female you'll have like let's say the corner of the eye is right here and then the outside corner be higher up but in her case it's actually i think they're on the same line so now we're going to draw a parallel line to this bridge like so and those two lines will connect right here and oftentimes that's where the eye will begin so we got to ask ourselves is that the case here and it's not it's actually further in so i'm going to take a i'll use my pencil outside the nostril and i'm gonna locate where the inside corner of the eye is and i'm gonna find that angle compared to that side of the nostril and it's about right here so um those generic drawings like with the writing method and stuff a lot of times i'll use that parallel line to find the inside of the eye and it works for like invented heads and stuff but it doesn't always match up so i'm just checking that angle again and then this eye starts right about here that one's easy to find because you can see it it's almost touching the bridge of the nose so it looks like i'm also looking at the space and i might have to bring that eyebrow up a bit excuse me i might have to bring it up a bit but i'm not sure yet let me just take that line out so let's go ahead and map in this eye well actually i'm going to make a nice eyeball i don't usually draw this in but it might help show how i'm going to wrap that eyelid around and we'll do one from we'll do one over here as well so let's wrap this eyelid around looks like the highest point's about right there and then it sweeps down like that it's like a nice heavy eyelid she has and we can do the other side that's probably about the peak and then it swoops down let's do the upper eyelid i'm trying to keep that thickness that i see it looks really cool you might even exaggerate it that's the best part about drawing is you can just change whatever you want unless i guess you're doing like a commission or something you're trying to make it look like the person but even then you still there's lots of variation i don't know what it is about drawing this is so freaking fun let's see let's bring this eye up just a little bit so i gotta remember this eye is not the same eye because it's in perspective it has a little wedge right here because of that eyeball is on the side is turning around so let's go back over here um let's do that cast shadow that's on the eyeball from the upper eyelid then our iris will be about right here so i'm looking at that negative space and the white of the eye i'm trying to use that as a reference point and the bottom eyelid right here and let's go ahead and clean this up let's bring this down let's do the other side a little bit of a cast shadow bottom eyelid and then right behind that ball of the eyeball there's a little wedge shape for the bottom eyelid and now you can see how this space right here between the bottom of the eyebrow and the top of the eyelid is too short so let's just take those out kind of clean some of this stuff up and let's reposition those eyebrows still has that same rhythm it just has to be moved up a little bit all right that looks better so i'm just gonna i don't see this in the the drawing or the uh the reference but i'm just gonna pretend like i know so i like that that shadow shape that you see in the eye socket often like this one right here kind of builds up that little pocket of tone and i'll just come down here and stop right there actually i have to bring this side up just a touch she has a bit of a highlight that cuts into the iris almost like a like a slice of pizza or something so i'll just do something like that again this isn't going to be a fully rendered drawing it's just a it's an exercise that gets you thinking about head structure and quickly assessing what you need to do and then moving on to the next thing it's really good warm up too this actually counts as my warm-up for today although drawing on a video is a little bit more intense that's for sure but overall it's a it's a nice exercise i highly recommend it doing these on the daily would definitely help you get better faster that's good it's a checker ear placement and top of the ear comes across the eye bottom of the ear comes right about the top of the lips maybe let's see let's check the top of the ear again i could probably bring that up just a little bit even though i see the ear is a little bit smaller than i have it i like it the way i have it so i'm just going to leave it i like bigger ears so let's go ahead and just do a quick mapping of the ear and she has a little pocket of shadow right here and then overlapping form a little bit of a cash out from the earlobe and she's pretty much done for a uh for headline let's redefine this line just so we can see it for our reference and how we built this this drawing up yeah this is a fun one i want to do more where there's like less shadows and stuff so it forced me to focus on the structure of the face and rely on my knowledge versus shadow shapes and stuff i think that would be better all right let's move on to the next one actually i almost forgot this there we go hmm i'm gonna bring her hair down a little bit actually i know i'm trying to i'm probably getting too uh picky just for like the exercise usually i do this with the timer so i have to put my pencil down when the timer goes off or at least that's the theory so we've got that side plane of the head here i got that rhythm for the forehead cheek rhythms the furrow nasolabial fold chin bam bam all right all right all right all right all right that's on to the next one got my bed head got my paper got my pencil got my eraser got something to draw and let's go for it so a handsome guy on a head tilt let's start off with our circle don't worry about trying to get it perfect especially first thing in the morning because that won't happen and then next we're gonna look for the head tilt by holding the pencil up to the eyes finding that angle that they sit on and then with my pencil i'm going to try to double check it make sure i got it right and now the center line to make the cross of the face it's not a three-quarter pose but he is turning to his left a little bit so we see more of the side than this side now i'm going to guess where this hair line is just by looking and then where i think the bottom of the nose will be and then where i think the chin will be so they're not always three equal parts these thirds of the face it depends on your your subject and how they're if they're you know like a perspective if you're looking up at them they're looking down it all depends on that so what i did here i'm going to measure the bottom third bottom of the chin the bottom of the nose using my pencil and thumb and compare that to the bottom of the nose and where the brow is and i get this distance right there so we're pretty close let's see i'm going to bring the nose down just a touch maybe about right there and then let's do the same for the bottom of the nose to the brow and compare brow to the hairline and it sits way up here all right so we got roughly those three parts and their distance and their length in comparison to each other so now i'm going to do the width of the face compared to the length basically i'm gonna do cheek to cheek and compare that to the length and it comes to about right here so like this and if i put the outside cheek about right here the other cheek will be about right here so all right like so all right i'll be right back one second just had to go do something real quick so it looks like we have a loomis head so we start with a circle we did the cross of the face then we measured out those three uh three parts of the face um and cheekbones looks like so from here let's go ahead and let's do the little bit of the nose get the glabella that wedge shape between the eyebrows then we had the root of the nose and i'm just going to put like a blocky shape to start off for the nose and the tip of his nose would be about right here and we could put in a v shape to indicate that tip of the nose and its perspective and the main cartilage of his nose and the bridge the bony structure at the top and then right down to the spine the nasal spine right there so that looks pretty good let's go excuse me so did we do the width of the face yeah we did okay so this is our width so let's go ahead and sketch in our jawline using the width that we found and so that jaw turns this corner right here and we'll come to the other side using that that same angle that his head is tilted on very rough right now it may change a lot as we go along but we're just trying to get in the ballpark with all this stuff let's see now for the neck comes down right about here actually i think it comes in even further because if i look the pit of the neck comes right under the nose maybe something like that let's place his ears if we can actually let's put the lips so looking at his philtrum and the distance of this filter i'm just going to eyeball it something like there this mouth will be on this this angle keeping with all those angles because he's not raising he's not making an expression that's changing that for the mouth he has a really his full lips and his top lip it's very angular so i'm going to try to soften some of those edges a little bit where i would at least if i was doing a fully rendered drawing let's use the muzzle there's not the muzzle but the nasolabial fold that rhythm let's go ahead and use that and then the chin and then we can use the mitchie furrow i'm keeping it really light i should probably make it darker so you can see it better let's see let's come over here corners of the mouth approximately his mouth is closed so here in the corner i'm going to stair step up a little bit come across stair step down and bottom of this lip i'm going to make the upper lip a little bit fuller than the bottom and then we have a wedge a crease right here mental labial crease is that right is that somewhere else i can't remember but anyway on this rhythm there's a plane change right here so we have the lip comes over and then falls down and it comes back over so you see all those plane changes as we come down the face let's see so again looking at this pit of the neck kind of like right here his jacket so now we got the lips so i can place the ears and then after the ear the ears i can find the placement of this jacket so let's find his ears bottom of the ear ear to ear holding my pencil up it cuts right across the top of the mouth and let's do the same for the top of the ears and they sit just below where the eyes would be but we haven't placed the eyes yet but it looks like it's probably going to be somewhere over here we can always adjust that once we get more information in for the ears or for the eyes i mean and this ear you're going to see a lot more of than this one on this side because of the perspective we're looking at him so now i know where the jacket will be about right here and then we can sweep this line over for like that that collar from one side to the other and this basic collar shape down here and then you can't see it but his t-shirt is tucked away and say something like like that yeah just make it more it's hidden in the shadow just for this exercise i'm gonna just end it like that actually i can't see in that shadow i think it's more i think you see more of this neck over here and then it's kind of like that it's hard to tell so much shadow something like that all right i just realized i keep saying that phrase something like this something like that it's not exactly the best way to teach something saying something like that listen just do something like this see i'm just doing the basic shape of the hair you can so much fun doing hair you can make it super exaggerated it's a lot of uh what you call it you can design a lot there's a lot of opportunity to design different shapes just like have a lot of fun doing hair shapes i brought his hairline down just a tad it just felt right oh yeah the side plane of the head hello don't forget that definitely need that and then let's find that cheek yeah his ear needs to come up quite a bit actually it's more like that so rhythm for the cheekbones there's two different ways to do it you can do it this way where it's like or the ear the top of the ear to the corner of the mouth or you can even go corner of the mouth to the outside of the nostril then nasal wing and then wrap around but in this case i'm just going to keep with this rhythm here let's see where should i go from this point it looks like i need to make his nose a little bit wider i'm curving the bottom keeping in perspective thinking of that cylinder of the the mouth area and this right here the mid cheek for real comes up and it helps us place our eyes so we can draw in our eyeball roughly what we think it will go and let's go ahead and decide where to put the eyes so this is for boris who asked me to go into some detail on how to place the eyes and keep them from being one too high or one too low such like that so what we're going to do is find a single line where the inside corners of the eyes sit on and they both sit on the same line so it looks like it comes across actually i'm looking at the bridge of the nose i think i want to make it a little bit longer so i'm going to bring the eyebrows up a little bit which will make the nose longer and he's got like not a worried look but he's he's got some expression so i'm going to kind of exaggerate that a little bit so let's go back to basic structure of the nose we got the glabella right here this wedge shape the root of the nose and maybe like the bony structure there we go and everything else the eyeball sitting okay might be a little bit high compared to the other one but i think it's okay so what we're gonna do my friend boris if i do it right hopefully i'm going to find that line that those two eyes are going to sit on and now i'm going to make from that outside nostril i'm going to bring this a straight line right up i'm creating a box so we got a box right here and i'm going to ask myself is the corner of the eye inside this this dot right here that represents where the the corner of the box is it on the inside or the outside and it looks like it's on the inside and it's about right there so you're just eyeballing it but you're also using reference to eyeball it which gets you closer to what you need to so that's how i do it i don't usually write i don't draw the lines in but i'm thinking that as i'm drawing that's the reference i use i use that straight line and then try to see or ask myself is it on the inside or outside of the corner of that box so now we have the inside corners and it looks pretty close i'm going to bring this one over just a little bit and now we have our eyeball and we have our mitchie furrow right there now i'm asking myself this distance right here from the nasolabial fold right where the outside wing of the nostril is and to that where the eyeball begins is that distance right so i'm just sort of looking at my reference and looking at my drawing and i think it's pretty close so now we can go and start mapping in the eye and so we're drawing two different eyes because his head is turning so this eye is in a different perspective than this one and you can see that as we come to the corner of the sphere it's rounded right there where this one will be pointed on both sides so our eyelid wraps around that and comes down to the point then we have the upper eyelid fold and it comes down kind of wedges around that sphere tucks in behind it then we have neighbors walking through the hallway but for the bottom of the eye there's this angle so like you have the top okay let's look at the top right you have the peak right here and then for the bottom you have to peek over here and there's this angle that you often see you'll see it over here too so look for that angle and try to think about that sphere on this side and the eyelid wrapping around it try to or at least i do i try to exaggerate that structure a little bit even if i don't see it very clearly in the reference because it just adds more structure to the drawing and then let's draw his iris well actually let's do the cash shadow from the upper eyelid and that much is not much of the white is shown on this side so there's that i could put a little highlight and then indication of the pupil and then let's draw his eyebrow which is pretty close to the upper eyelid fold so we got a good start on that eye now let's go to the other side before we get going too far with it and remember this oh see this sweep right here this we can actually bring this all the way over and matching those two together will lock those eyes down and make them look like they're both sitting in the head correctly or at least together so we have this line remember the one where the corners sit on and then we have this one which comes to the top and it locks those two things together really lock it in place but also making sure that you think about the perspective and this eye is wrapping around the sphere the eyeball all right so let's go back over here and this one his eyes must be pretty big like uh let's see because you can actually see it it's almost wrapping around the other one as well it's very slight so this is your upper eyelid fold and let me let me just fix this corner a little bit there's another rhythm too i don't usually use this one but you can where you come this because you draw this angle of the eyelid and you come and wrap it around to the other side so yeah this one that comes through the top this one comes down to the bottom and they both sit on that straight line i should probably use that more often i just now remembered it that's the cool thing about like trying to show somebody else how to do something is like start remembering almost what you forgot so let's go ahead and draw in the iris looking at that negative space the the white of the eye and seeing how much is is still shown i think i need to make his iris a little bit smaller maybe like cash out a little bit stronger or thicker i'm gonna actually wrap it around a little bit more it has really cool shape shaped eyes and his eyelid over here the bottom eyelid comes down and wraps around and then this brow is sitting way too high i just need to bring it down i think i shouldn't have brought them up i brought them up earlier brought them up a little bit higher because i'm so used to drawing um i think the drawing before i did was a female and you can see a lot more space between the brow and the eye so it kind of like threw me off on this one and then we do this rhythm for the brow ridge let's put a highlight here and then the pupil so hopefully i explained that well enough i'm just trying to redefine some of these edges i'm using the wolf carbon which is i like it a lot better than the kantia paris but it does disappear faster like from my hand coming across it and stuff so it does disappear faster than the kante the conte will stay down pretty well so like i can see all these lines are just like washed out from moving my hand around let's take that rhythm out through now let's put some furrow lines in this he's got his thinking hat on it looks like let's go ahead and finish off the nose a little bit nasal spine stair step up cross their step down get that chin rhythm jawline this jaw the corner of his jaw is like in a lot of shadow i can't really see much so where should i go from here so i keep going do some shadow mapping did a little bit on the nose might as well do some more shadow mapping let's do some in the eye socket and then over here it comes straight across oops made that little two made that line a little too firm didn't like that there you go and come across here we'll find the cheek core shadow make that nice thick and dark and it comes down here almost following that mid cheek furrow pretty well and then we can see the muscle rhythm down here along that nasolabial fold and then turns into the muzzle line got some shadow in the corner of the mouth we got this nice rhythm right here don't forget about that where's the light source coming from it's really diffused but i think it's almost directly above him hmm so now let's check the top of the ears again since we have the eyes in place i have the ears higher that is than in the reference so let's come so they're about right there and let's check the bottom of the ears again okay i like larger ears i usually make them larger just because i like i like that i like drawing ears so i just i like that look especially like if somebody's got like really large ears like um not large but like they're sticking out i really like that it looks cool to me so i might i might fib you know like make it make your ears bigger than they are people don't usually like that though they don't like it when you make their features larger unless it's their eyes like if you're drawing a friend or something they'll get pissed if you think their ears too big especially in your nose if he'd make somebody's nose bigger than than it is oh my god but for some reason you can make eyes bigger nobody complains let's see his hair comes down here over here there's a shadow all this is in shadow so the thing about a cast shadow is like for instance on the neck here it'll be it'll be darkest the closer it is to the source of the thing that is casting the shadow so in this case with the chin the shadow would be the darkest right here right where it where it begins under the chin then as it comes out it'll lighten up and that's usually because you'll have reflective light that bounces into the shadow and kind of makes it lighter in tone and it creates a interesting like a hollow looking shadow i really really really like that so i usually try to find references that have a lot of cast shadows so i can play with that um that concept i'm just gonna work on this hair shape i kind of want to do it right now but we're just doing a head laying no no rendering this is a really good exercise guys i highly recommend doing these at least one a day if you did that holy cow you would get so much better at least that's that was my experience so it's such a great warm up just put a timer on okay got 20 minutes let's see what we can do with this headland and just go to town and when the alarm goes off pencil down take a break or move on to the next one all right so this one is done as far as like a basic headland i hope that helped boris and all the others who were asking me about eye placement and keeping them on the same like locked in and in perspective and such so hopefully hopefully i did okay on this one so again it's finding that line actually starting off from the beginning we start off with the circle down the cross of the face the cheekbones then we went to the width compared to the length and found that relationship and then i moved into like a blocky shape of the nose blocked the shape of the mouth then i placed the ears and then we had the brow so i started doing the circle for the eyes and then i made that that box shape you can still sort of see it and then in the corners of the box i asked is the eye the corner of the eye on the inside of that box corner or on the outside and then from there we started drawing the eye and using these sweeps from side to side like this one here and then this one here to lock in the eyes together on the same on the same lines and i'm going to adjust this one i made this a little too thick for my comfort so using those rhythms and angles to lock in the eye so hopefully that works all right okay so i just noticed that i had the ears a little high um i just want to fix that real quick it always you know happens when you take a break and you come back and you see you see the mistakes but um no big deal just need to bring them down a little bit so they're just right about the top of the bottom eyelid so that one might have been okay but this one this side was definitely a little too high and i do make years bigger in general than i see i mean then the model has i usually make them bigger but i just wanted to fix that real quick right at the last second i'm actually editing the video right now and i i saw it better in the video i was like uh i was contemplating just leaving alone a lot of times especially on the studies or the little exercises when i'm editing editing the video i'll see like just glaring mistakes all over the place and i have to fight myself not to uh go back and fix it but this time i did i just just felt like i need to so i just moved it slightly down but it feels more more settled to me so that's all on to the next one okay back for the third and final of this strictly head land exercise and actually i'm back from uh the next day actually i think it's been two days because i had to go i couldn't finish the third one because i had to go to work and then the next day i had to i had the day off but i had surgery had a basal cell taken out of my forehead which sucked but they got it out and it's all going to be good it's all stitched up and it's just really swollen and weird and and uh got a bit of a headache but um i want to finish this third one and then post the video as soon as possible so let's go ahead and get started um it's really cool uh portrait i got this one off of pinterest so let's go ahead and start with the basic circle again and then he has not much of a head tilt at all very slight so i use my pencil and i'm holding it up to the eyes to find the angle and i'm gonna put a slightly exaggerated head tilt and he's got he's in a three-quarter pose and the center line of his face is about right here so we have the cross of the face and now for the thirds of the face and his he has hair covering his forehead so don't really need to use that as a reference but i think what i'll do is this will be the brow right here and then i'll just ghost in a line that i think the hair like where the hair falls on the forehead and now i'll do the bottom of the nose and then bottom of the chin and now i'm going to measure with my pencil and thumb the bottom third bottom of the chin to the nose and then compare that to the length of the nose and they're almost equal pretty close so i need to bring the chin down let's see oh yeah i need to bring it up actually i went the opposite way i'm a little dopey right now because i took some pain meds and uh some a little a little uh goofy so i'm on drugs for this one for this uh drawing i'm on drugs everybody um so let's see so this is pretty close to equal i don't know i feel like i'm gonna make his chin just a little bit longer just a tad and so now i'm gonna find the width of his face compared to the length and i'll do that on him i think i'll just go outside of this ear that's over here somewhere and then over to his cheek somewhere over here so i'll get that with my pencil and thumb again holding it up and the image is on the tv in front of me uh it's a pretty big tv i try to get like i try to get the photos to be like life-size because i try to practice as if i'm doing a live model as best i can so i've taken that width and now i compared it to the length it actually goes right to the hairline or not the hairline but where the hair this line that the hair falls on the forehead so it's that length so it's about this is really roughing it when i use my fingers but it looks like let me bring this in a little bit i feel like that cheek is too far out and now so we have the length of the pencil and then a little a little extra so it looks like the ear is probably about right there so now we have the width of the face and his angle of his jaw comes down here and he has a very strong jaw and the corner of his jaw curves it's very curvy and it wraps around there's not a harsh angle right there it's very curvy smooth transition it wraps around his chin and it curves a little bit here but then it picks up a strong angle like that and then his cheek rhythm will come down just below the mouth so it's uh goes down here and you can actually bring that to the other side if you like kind of rhythmically from side to side like that and it's up to you if you want to show those lines or not but that's just a little exaggerated so that we can get a sense of his facial structure so the bottom of his ears his earlobes attached to his head right about where the nose is the bottom of the nose and he doesn't have much of an earlobe and see the top of his ears are just where the eyes are the top of the eyelids let's see let me get that shape a little bit better he has really cool ears i'm going to exaggerate those shapes a little bit i'll leave that for now so come back down here let's get his neck in and the point of his shirt where his button is make a with my pencil making a plumb line a very vertical line and it goes right through the eyeball so we don't know where the eyes are yet so let's look at it compared to the nostril so it's somewhere over here we can always adjust that if we need to so i'm going to take a measurement from the top of his button to the bottom of his chin and compare that to the bottom third and it's just below the nose so we're looking at right about there so his neck see actually his neck will come let's make this line for like his collar and then the neck muscle you can see it just behind the ear and it comes down right into that shirt then he has another type of collar that tucks underneath his chin i'm not sure i think his collars are um i think he has a like a polo shirt on a song oh maybe that's like a sweater he has a collar shirt a sweater and a jacket so he's got a lot of things going on here i think the collars are popped up oh i see that's okay so he's got he has a collar shirt a sweater and a jacket the jackets collar is prepped up so and it's got a different pattern underneath it and then looking at this rhythm from the collar and it comes over catches over here and then down okay so now we can go ahead you can't see the far side ear is behind his cheek you can barely see it um i'm trying to decide if i want to leave it in or take it out but i think i'll just i'll leave it in maybe we'll see i'm not really sure yet so let's get the hair shape it has a really cool haircut it's like very stylish and i'm going to measure somewhere where i think the hair so the distance from the hair falls on the forehead and the very top of the head i'm going to measure that distance and compare it to let's say bottom of the chin in the nose so i want to get that the thickness of the hair correct so it comes to about right here so i'm pretty close i'm going to bring the hair up just a little bit he's got wavy kind of a little bit of a he's got some curls it's like a very bed head kind of thing i got some mean bed head right now i think plus this bandage on my head it's so irritating okay back to the drawing ah okay i'm so drugged up um all right let's go back over here so i'm just i can see a little piece of this uh far side or not far side but the temple area just a tiny little section of it so i wanted to get that in and let's put that rhythm in for the side plane of the head and let's go ahead and put in the glabella which is the keystone shape between the eyes or between the eyebrows and then here's the root of the nose and then from there i'm going to pull an angle just to create like a block a block sketch that i can place the nose in and uh kind of build up the structure of the nose from there and then the tip of his nose because he's at an angle he's looking this way if he was straight on the tip would be right here right but he's looking to the side so we have to move the tip of the nose to the side so it'll be somewhere right here maybe a little bit lower and we can go ahead and put a v shape for the shadow shape you see it on his nose right here it's pretty pretty pronounced and that'll help us see where his head is turning because we want the nose to match up with the turn of the head so that's that's one way to do it think of like a seagull shape like a bird and it's like a v shape and it tells you where the point of the nose is let me have this brow rhythm from side to side to lock those two together we can go ahead and do the nasolabial fold the muzzle line my paper is getting wrinkled i think the humidity changed the weather changes and the paper starts to wrinkle actually i think it's getting drier take takes the moisture out of the air and then the paper starts to buckle up a little bit and then so we have this rhythm and he's a young guy so you don't see much of this one the um mid cheek furrow but i'm going to put it in especially up at the top where the eyes are because it helps us find the location of the eyes when we get and get into that area and then we have the chin rhythm so i'm using the riley method and i started off with like more of the loomis getting the cross of the face the lumas and the reilly are pretty much the same they're like cousins i guess but at this point we you know artists we all like put everything together and uh so it's everything's like a hybrid so it's not really like solely just the loomis method or the riley method or head abstraction or whatever it's a it's a mix it's a hybrid i'm always looking for uh other techniques to get a good drawing so if it works i put it in okay so we got a nice head structure very basic so far but you can see you can see that it's a head that he's turning his head it's a three-quarter you can see all that kind of stuff so i think from here i'll go ahead and work on just a little bit more reference a little bit more structure of the overall head shape just to get it cleaned up a little bit and so his chin catches a shadow here it shows us that rhythm when he gets older this will this mid cheek furrow will show up more pronounced and that's where he'll get a lot more character in his face and we got that cheek rhythm here very subtle because the lighting is very soft i don't have a lot of hard key lighting on this one and usually i like to do portraits from like a strong light source and it throws all these cast shadows on to the subject that's that's really my favorite but for these headlands we can do soft lighting and it's also probably best if i start doing more challenging soft lights and uh long drawings like subtle forms and half tones instead of relying on hard cast shadows so let's go up into the eyes and kind of like get ready to place the eyes and then and this is for boris who was asking me in a comment section on um to get more detail on the instruction as far as like placing the eyes he mentioned that he has problems with that and so let's go ahead and do that so first off i'm looking at the bottom bottom of his eyelid and about where that would fall on the head and it's also a plane change if we're doing like uh the asaro head or one of those plane changes heads so you have like this block shape right here for the eye sockets um another uh line that you can pull that will help you locate the eyes is it's a v-shape and it starts with where the the center of the upper lip starts and then it usually goes across just right on the outside of that nostril and come straight up so you can find this line this angle and see if you got it correct here that'll help you in two ways help you locate the the width of the nose and also the eye placement so if i bring that down i'm really close i need to bring it out just a touch and i'll do the same thing for the other side bring my pencil down and that's really close too and on in this case on this portrait on this individual uh this v-shape line that cuts on the sides of the nostril and comes up here and this line actually runs right where the eye the outside of the eye will sit sometimes it is not so sometimes the eyes are further inside but this this time it's it's sitting right here so now we know the boundaries of the outside of the eye so now let's take a a very uh vertical line from the outside of the nostril and come straight up and we'll do the same for the other side i don't normally draw this line up but i do think about it and but in this case we're going to go ahead and draw it and now i'm going to look at my subject and try to find where the line try to find the line where the eyes will sit on like the inside corner of the eye and it looks like it was pretty high up pretty close to the brow there's not much space between the upper eyelid and the brow line so it looks like it's just below the root of the of the nose as well so this will be the line that his eyes sit on so now we have this line the the two vertical ones and they cross that line right so now we're going to ask ourselves does the corner of his ins inside corner of his eye does it sit on the inside of this this uh right angle or on the outside and if i look i can hold up my pencil making that vertical line from the outside nostril and it's just on the inside of it so right there and i'm going to do the same thing for the other eye and his sits pretty close to the bridge of the nose so now we have a placement of the inside corner of the eye and we know where the outside limits of that eye is also because of that v shape so now let's um let's go ahead and draw the sphere of the eye which i don't normally do on a long drawing but for this demonstration i think it'll be helpful to see how the eye wraps around that sphere it's really helpful when he's like turned super far to the right or left and the eye has this eye will have more perspective issues but um this one's a little bit more subtle let's go ahead and draw that that guy in so he looks kind of funny like uh like a mannequin or something but uh let's continue so we know where the outside of the eye sits right on this angle and i'm going to take a rhythm for the upper eyelid and i'm going to pull it all the way over to the other side and this is just to help me place the eyes together and make them feel like they're sitting together solid on the face so i'm using rhythm here to lock the eyes in and here we were using angles to lock the eyes in so we got a basic rhythm there and then here's another rhythm if you want you can pull this one all the way through and wraps up to the other side so we get like a nice basic eye structure happening his eyes are pretty big in this photo i don't know if it was like photoshopped to be bigger but either way it looks kind of cool so now we're going to wrap this bottom eyelid around and it comes up and tucks into that corner and you can because we put that sphere in right here you can see it almost makes already the upper eyelid fold for us so we have something to go go by and that fold comes down down into there it's a little bit flat right here at the top this place is iris in and he's looking up so into the side put the pupil in let me bring the eyelid up a little bit now let's do the shell for the bottom eyelid a little wedge in the corner now let's do the other side much because he's turning there's a really strong wedge shape around that sphere of the ball the eyeball right there excuse me right here so i'm going to emphasize that with a straight line in the corner now let's draw in this iris on this side i think i'll make them bigger and then pupil let me soften this up a little bit okay and again with that sphere that we drew in earlier gives us a nice reference for the upper eyelid it's already ghosted in with our sketching then come back over here get that bottom shelf of the eye again you can pull those two rhythms together from side to side if you want i'm going to bring this eye up a bit it kind of sags down a little too much so again that corner wedges in that feels a little bit better a little bit cast shadow actually has some pretty long eyelashes exaggerate them it looks kind of cool so now let's come so we got the eyes in pretty well let me um darken up the eyebrow a little bit kind of get things moving a little bit here i know that i noticed like using this uh wolf carbon pencil the last few weeks uh testing it out and i like it a lot more than the kante at paris but i i keep noticing that it uh smears off easier the wolf carbon doesn't stay down on the paper as as strong as the other one but that's okay i think it's still better so i'm just building up the structure of the nose coming down here into the spine of the nostril or the nose building up the side portion of the wing and we already have that core shadow kind of shape that indicated the tip of the nose and then under it put the put the nostril and maybe a little bit of a half tone here i think his nose is kind of angular and then right here in the corner it picks up a hard edge right on the bony structure and we got a nice side plane of the uh the nose cartilage and then the bony structure right here and this one we have even more of a side plane let me come in here and map in this shadow shape inside the eye and same here so i think i brought this nostril up a little too high so let me pull it back down i started to go into tones let me pull that back out trying to remember yeah this is just strictly headland no need for tone on this exercise so let's work on the lips we spent a good amount of detail getting the eyes in i hope i explained it well i've been trying to think of better ways to just explain um how to set set up the portrait and stuff like that because after a while you kind of like don't think about it after you learn it and uh trying to remember just what the heck am i doing and how to explain it so hopefully that worked so i'm just i'm rambling but um his mouth is slightly open so i'll just go ahead i think i might leave it open i might close it but let's try just for this so his bottom lip is much thicker than the upper and there's a little pocket of tone like a shadow cash out of the right there and then a shelf with this rhythm it's like a little tiny v-shape and you can pull that out and you can't see it very well in him because he's so young but there's this underneath the mouth there's this rhythm i think i need to make his mouth wider actually i think it's too small so i'm gonna make the corners over here and then over here so it looks like pretty much everything's the same i just have to bring the corner out just a little bit more oops let's take that out because this side has a different perspective on his lip it curves out it's fatter right here than this side it comes up at an angle and his chin it's very round i'm not sure if i like this mouth i think i'm gonna soften it up i'm going to actually make his bottom lip a little bit wider than i have it so that's here nice chin rhythm here and that rhythm comes down and catches this shadow pattern outside shape of the jaw and then you can kind of see some volume underneath the chin in the shadow right here redo this real quick and then core shadow or a plane change right here i'm just i'm over exaggerating the uh some of those rhythms in the lower face but i i really like those so let's work on this hair and just map it in get his ear so you can see how the pencil just comes right off and i'm really sloppy with my hand placement i i'll set it over here and just just go crazy on it and get all kinds of charcoal in my hand so i'm not the best at trying to keep things from getting smeared if i do like a graphite drawing i'll i'll take out like a mall stick and just rest my hand on it but i might have to do that on this on these pencils the carb wolf carbons and we'll see let me exaggerate his hair for fun that's cool yeah i just need that ear there all right so that's pretty much um the strictly head laying on this guy i hope i uh was able to explain that a little a little better on the eyes uh boris let me know if uh if you have any uh further questions on it so basically just a recap on what we did with the eyes and how to place them in is that we had the basic structure of the head and everything a nose is blocked in um then we used our what did we do yeah we took a a vertical line on both sides and then we found the line that the the eyes will sit on and we asked ourselves if the corners of the eye sit on the inside or outside of that right angle and then we also used this v-shape angle to find the outside of those eyes and that's pretty much it and oh yeah we use rhythm lines as well to sweep from side to side and that just keeps everything locked together so and i'm just going to erase these maybe i'll leave them in actually yeah okay so thanks guys and uh see you next time i hope this worked out let me know in the comments if you have any questions and i'll try to get to you and comment back all right thanks bye [Music] you

Channel: Bradwynn Jones

Views: 136,165

Rating: 4.948566 out of 5

Keywords: how to draw faces, eye placement, bradwynn, bradwynn jones, wake and draw, portrait drawing, drawing demo, drawing faces, head lay in, head lay-in, head lay-ins, head lay ins, wolff's carbon pencil, wolff carbon, smooth newsprint, tombow mono eraser, tombow eraser, teesprint t-shirt, Edgar Degas

Id: bBByPdEsXdg

Length: 104min 22sec (6262 seconds)

Published: Fri Sep 18 2020