How to Draw Faces STEP-BY-STEP // Two Mullets and a Shag Love Triangle

all right let's get started on this really cool portrait she's got glasses on so it's going to be it's actually glasses can be intimidating to draw but it often times can really help with the structure of the head because the because of the frame of the glasses kind of shows you the tilt and angle of the head so basic circle or a little bit more like an oval shape and i'm going to go through the brows for the angle and there's a little bit of a distortion from the camera looks like the camera is pretty close to the subject in this reference but i think it'll be okay sometimes the distortion is pretty pretty challenging to draw but it's such a cool photo i just wanted to go ahead and draw it anyway let's see so i'm looking for the overall shape of the like the the head the um and the jaw and then i'll check my measurements and proportions after i give my my uh best guess basically it looks like she has a pretty sharp angle right here or it's an earring that's kind of creating that i think it's an earring like tucked under the hair right there let's see let me check my angle of the brow okay and now i'm going to draw the center line of the face and that's going to give me the cross of the face with the brow line and the center line and then it looks like her neck comes out down here somewhere over here so now i'm going to place in the thirds of the face and firstly i'm going to bring the brow i think i'm drop the brow down just a little bit and let me check the angle again i need to flatten it out just a bit and the nose the bottom of the nose about right there i'm looking for three equal parts so bottom of the chin to the nose let's bring the chin up a little bit let's try that again chin to the bottom of the nose bottom of the nose to the brow brow to the hairline and of course we can't see the hairline because she has bangs covering her forehead and now i'm what i'm going to measure the distance from the jawline here and this far side cheek and compare that to the length of the face so far side cheek to the jawline and it comes to about right here so a little bit longer than the pencil and i'm going to double check that again so it's kind of shaky on it i just want to make sure i get it correct okay it's pretty close and let's get the angle of the glabella right here and then the angle of the the nose and then it sweeps down to here and then we have this outside nostril and let's try to keep all the features lined up on the same perspective line including the eyes so the eyes would be somewhere right here so we want everything to line up on these parallel perspective lines for the features this i was just kind of sketching in the the rhythms for the neck and we got the shoulders here okay so let's i'm gonna map in well yeah let me map in a little bit more information on the nose it kind of bothers me sometimes just leave it so simple but let's go ahead and do some information like the underside plane of the nose you can see the the peak the tip of the nose right here and then the plane change for the um bottom of the nose compared to the top and the big cartilage of the front of the nose and this oval represents the nasal bone itself and then we can come up here on this other side for the glabella shape so we have this nice keystone shape the uh bony structure of the nasal bone then that rhythm of the cartilage and then this the wing of the nostril if we come down for the philtrum that'll bring us to the split in her upper lip and it looks like her she's got a little bit of a smile so let's kind of curve that just to touch and actually i'm going to bring that mouth up a little bit kind of thin out her lips and then this comes down and this side curves because of that perspective of wrapping around the cylinder the teeth cylinder so this side can be straight but this side will curve and i made her upper lip a little bit a little bit thicker but that's okay i like it it's a good shape still and then the bottom lip will make that even even thicker let me check the bottom third so i had her equal i just made it just straight up just made everything equal and let me make sure i had it correct okay that is correct so we have the bottom plane underneath underneath the bottom lip there's a little like a wedge shape right here and then we have the rhythm of the chin i'm going to shorten up the jaw a little bit let's come over here and if you look at the angle of the jaw over here it lines up roughly with the corner of the mouth so that's pretty much right here let's go into the eyebrows a little bit and start mapping in the glasses the shape of the glasses before i do that i'm bringing i'm looking at the distance from this edge to the bridge of the nose and i think i need to bring it in a little bit it's a little too far out and let's see the top point the peak of the glasses are right here and then over here as well and the bottom peak would be about right here and then resting looks like it it's resting on her cheeks and then the frame or the i guess you call it the bridge of the glasses right about there and the very corner looks like it's maybe about right there so i'm just trying to find the border of of the glasses and then i'll have my lines to guide me as i sketch the delicate shape of the of the glasses so if i come through here we meet up with this one this is sort of like the little um wedge shape on the side of the of her glasses and before i go to do that i want to map in her eye too so it looks like if i come up at an angle like this then i'll find the inside corner of the eye right about there and actually let me go ahead and gently sketch in the inside border of those glasses and they do come and touch the nostril on the very far right on the edge right here okay that's good enough because i'm trying to locate the eye in relationship to the glasses and get it locked in on the correct and then correct like anatomy wise like in the correct spot so it's a little a little tricky because this right here is the upper eyelid but it's between the upper eyelid it sits just under the inside of the sunglasses or of the reading glasses let's see let's come over here and i think the corner of our eye is actually tucked in behind the glasses okay so i'm thinking about when i'm drawing the eye i'm thinking about it wrapping around the ball of the eye itself like the the sphere of the eye and i'm trying to visualize that thing wrapping around those eyelids wrapping around a ball let's see all right so let's go ahead and sketch this shape right here oops let's bring those lines together the right way there we go now you can find this angle of the arm of the glasses and it brings it to the basically the top of the ear and to find the bottom of the ear you can't really see it because of the hair anyway so in that case it doesn't matter and we see some hair coming up here and here and then it's really going to just tuck in behind the brow let's see don't really like that shape kind of it's not straight but it's a little bit more flat and then it curves as it comes down here and then the other side let's do that one let's see it comes through here [Music] there's the top margin that curves pretty heavy right here right down to the base was that the joint of the the the hinge of the glasses i don't think i've drawn glasses in a very long time it's a good exercise it's funny in art school it was always like if they gave us an option like if the the model asked the class or the teacher asked the class do you want the glasses on or off everybody's like off like take take the glasses off we don't want to deal with that and you can see the far side glasses come in should be at the same angle though so let me see if i need to move the hinge over a little bit or not i'm looking at that negative space as well let's see let's try to get that same angle there we go minor detail but very important and i'm going to finish i'm going to map this other eye so we come straight across at that angle not straight across but that same angle that everything is lined up on including the corner of the eye and i'm going to start off with this far side it's not so much of a corner because it's rounded because of the eyeball is on the far side of the eye so the perspective is it's wrapping around that sphere so i don't want to call it the corner of the eye but let's see let's get that upper eyelid you can see just the touch of the the top portion of the eyelid as it's wrapping around that sphere and then the bottom eyelid kind of comes out a little wedge shape and then it comes down it's hard to see but it's it's there there we go if i drew our iris something like that actually i think i need to open her eye up a little bit more okay it's actually i don't have the angle right so i'm trying to do it straight up and down like that and it should be a little bit too a little bit more of a angle like leaning over yeah like that much better and then this one over here this iris is see that highlight that's going to be really fun where it cuts right through the the side of the iris and right up into the pupil so that's going to be a really cool glassy eye kind of effect let's see so i think i need to make the eyes a little bit bigger on this side and it's really hard to get everything to line up with the with the glasses as well um let's see is this distance here too short it might be let's reshape this eye i'm going to bring the inside corner in a little bit you let's see so just for fun i'm gonna put some tone in it right now and then i'll pull out that highlight let's get a sense of what we're looking at here okay so that looks pretty good let's do the bottom eyelid shelf you can see that pretty well on her and so this is the peak here just trying to make sure i get everything lined up including the glasses on those perspective lines okay very good and let's see let's do the cheek rhythm and pretty much comes right through the mouth and up here you all right so let's look at the overall hair shape and everything that's um actually i'm going to come in here and sketch in her v-shape kind of blouse so that comes down to about right here that's the pit of the neck and she has a cast shadow very subtle let's see where is that right about here six she might have a little bit of a split in the cartilage of her nose that looks kind of cool all right eyebrows pretty dark right here and then it lightens up like a lot right here i almost said tremendously which i never say that word so i have no idea where it just came from tremendously think uh joey diaz says that a lot that's listening to his podcast that's probably why tremendously oh yeah we got a nice little rhythm right here comes up around into the other side and actually right to the cheek it's kind of got a little smile going on let me map in her hair before i get into like the values and stuff like that um so and also you can see how it aged her when i put that line in even though i see it i'm gonna take it out and try to keep her from looking older than she is so let's um let's measure from the pupil to the bottom of the chin and then take that to the top that's usually the top of the head so at least we know that's the top of the head and let's see where her hair is in relationship to there so yeah that's about right so from her chin to her pupil take that distance and then go from the pupil and the top of the hair is right about here so and she has pretty pretty wild tousled looking shaggy hair the shag style i don't know if you would call this a mullet i guess that's kind of a pseudo pseudo mullet maybe it looks really cool i love the hair how it kind of comes out and layers and stuff like that makes for a really fun drawing you can see a little bit comes out here i'm going to exaggerate this piece really give it like a lot more volume and distance and then the hair over here kind of lines up let's see at an angle to her chin be like this so actually i gotta drop that down oh okay one shoulder's dropping dropped okay i didn't notice that before she's kind of like tilted a little bit i had her neck too short all right that looks better and the hair is right about here i'm just going to drop it down to here keeping it really soft so we can change our minds easier big s curve here we have a c curve an s curve and she has a lock of hair that comes over the glasses and cuts back i mean you can really have a lot of fun with designing hair shapes and you can't see the glasses anymore on this side so we just take that out and this edge right here on the glasses is it's going to be the sharpest thing and hardest edge so it'll pop out more than the other side i'll keep the edges over here softer than this one over here because i want this to look like it's coming at you and to do that you would make that that line darker or crisper and and sharper all right so back to the hair s curve and she has a lock of hair right here okay let's go let's see let's go over it's so rough and messed up right here this is gonna be it's gonna be a challenge i'm gonna just have to like design it just to make it look like it's um like in a rhythm of some sort and then i'll come back to that back side of the hair i love how it's like tapered right here i can come in with that little the side edge of my pencil and just kind of make it look like it's been chopped up very cool let's see this one comes up and over it's just so wild back here do looking good i like that hair design so much it's so much fun let's see let's come over to the nose a little bit and give it some attention put some value in the upper lip and the bottom let me check the corner of the mouth in relationship to the eye with a plumb line and i think i need to bring this corner a little bit further out her mouth looks a little too short looks like it comes through right about here oh that's pretty much it huh let's check that again yeah i think in relationship to the eye it's pretty much in place i'm gonna push it just a touch um let's see let me let me thin out that upper lip that's probably what's throwing me off or i just got it in the wrong spot and then for the bottom lip i'm going to pull out just a little highlight right here very subtle i'm going to try to break that edge on the upper lip because it's not really a hard edge it's just soft it just looks harder than it really is because of the uh because of the lipstick the value change is so strong so it makes it seem like there's a hard edge there there's more of a hard edge down here though and we can connect this to that rhythm underneath the mouth like so let's clean this up a little bit i can put some value on the neck for sure because the light is not hitting it as strong as the face so i'm just scumbling this in it's really quick and fast i know it drives some people it drives some people nuts that i use my finger to blend but these are just practices and they're on this is a newsprint so i mean it's not i'm not going to keep this for forever you know it's not going to hang on the wall at least not for a long period of time um if i was doing graphite on archival paper you know i would never use my finger well i won't say never but i'm most likely won't be using my finger i'll be using my uh blending stubs but for these quick studies like this yeah i'm going to use my finger so i mean seriously it's just a it's just a practice like so some of the comments are kind of funny like they're kind of they're very concerned that i'm using my finger because the oils get in the paper and destroy the paper and it's like this is newsprint you know newsprint is not going to last like it starts to yellow it seems like depending on the room that it's in if it gets a lot of sunlight or not if it gets like a moderate amount of sunlight and no direct sunlight it'll last it'll stay its color for a couple of months and then it'll start to turn yellow if it's in direct sunlight it'll change much much faster and become really yellow almost brown like a gold and then to become brittle and fall apart it's just a really good paper because it's cheap compared to like the expensive papers and you can do a lot of studies and not go broke so it's a really really versatile training tool let's see let me try to pull that highlight out there it is i'm going to lighten up the eye a little bit okay so the main highlight or the the light is hitting strong it's like right here so i'm going to make this hair really dark on that edge to really pop that contrast then i'll come in here and hit those edges pretty sharp there we go and over here let's take out those initial lines i put in earlier scumbling in more value in this region to show the form turning doesn't take much then of course right here it's really really white let's go put value in our sunglasses or her her glasses i'm just going to connect those shadows together on this far side let the details kind of get lost in those values those dark values and just connect to connect those shapes together and does she have a highlight in that eye looks like just a little bit and where's my pen my pen eraser let's see okay make this a little bit of a hard edge so it just pops trying to make it look three-dimensional this is really going to be crisp over here i'm going to put some value in this nose so we can support a highlight so now i'm going to use my pen let's see what highlights on this side and right through the top of the bridge you i got some shadowing on that socket in the eye socket let's see i'm gonna bring this mouth out further i think it's too short on this side i think that's what was throwing me off earlier i felt like the lips were just too too short it looks like the corner can come out to about right here six there we go nice so i'm going to reposition that philtrum there we go and this side of the face has more more shadow more tone i keep grabbing the wrong tool i keep grabbing i was trying to like erase with the back of my my kante a parry they don't have erasers yet and there's a highlight on the bridge of the nose and it's right up against the dark of this dark frame of the glasses so i can kind of use that as the opportunity to get a really hard edge and show some perspective or show some depth nice looking pretty cool the hair looks really cool put some random strands you put a little bit more of a shadow underneath this jawline to make it pop out a little bit i'm also trying to keep it kind of soft and delicate it's a highlight on the glasses right about here i don't know if that works or not yeah i'm not really crazy about it trying to thin out the frame a little bit too looks like it gets thinner as it goes down maybe if i just blur this a little bit make it feel a little bit more like it's part of the part of the face i think i put too many you can overdo the eyelashes that's for sure you sort of just want to hint hint at it a little bit okay she doesn't have eye makeup on the bottom eyelash it looks like i'll just add some okay i think we're pretty much done with this one it's a nice nice fun study really enjoyed playing with the the hair shapes and let's go in here and try to get some of that the um kind of like the occlusion shadows those shadows that that reflective light can't get to kind of like walk around the drawing and look for areas i can pop in some dark value like that maybe over here in this corner to match up with that corner under the lip would be a good spot just a little sliver let's see under the nose definitely the pupil so oh yeah there's a little bit of a cash shadow from the the glasses right about here that's pretty much it i think sometimes the you get a really good photo reference and then the shadow from the sunglasses is like gigantic and it just doesn't look good kind of ruins the whole the whole photo let's see i think i'm pretty much done soften up that underside of that bottom eyelid a little bit let's see glassy eyes all right i'm gonna call it done and done that was fun that was a lot of fun hey guys so a quick little commercial for my patreon page i have only one tier currently and it's eight bucks a month weekly uh tutorials live streams private community where we uh it's a forum call it the wake and draw forum and on that forum we do uh show and tell critiques 30 day head challenges and things like that also i post a lot of reference photos to use in the videos the live stream videos these are really high quality reference photos a lot of them are portraits and some are figures in addition to doing live stream on youtube i do live streams for patrons only and this one here is of johnny depp this one's a nice study i did on focusing on shading so for eight dollars a month you'll get weekly tutorials live streams and access to the wake and draw forum and also you can ask me anything you like so hope you join and hope to see you there thank you guys bye so starting off with a circle we can even start off with like a square for the head it looks like he's pretty blocky actually um let's do that instead actually why not you know just change it up a little bit instead of the circle i'm going to look for his overall head shape this magnificent mullet and see it looks like his hairline get up here and then the brow somewhere over here very general with the uh the head shape here this jawline is a really strong jaw strong jaw shape and now i'm going to do the i'm going to take a line right through the eyes just to see what the head tilt is and it's pretty much straight across and his brow so now i'm going to just do the same thing for his brow checking under the nose so the lips so all the features are very straight across so i'm just going to make a line that represents where the brow line is and even though he has like an arching eyebrow this line is representing the start where the eyebrows start so they'll come up and over kind of like this but for now i'm just going to do a line right where the eyebrows begin and then i'll find the center line of the face so now we have what's called the cross of the face and we find that in the the loomis books he talks about it and it's really good process to find the cross of the face and you can see the head tilt from there let's see i might bring that hair line up just a little bit so now i'm going to measure out the thirds of the face and the thirds of the face start off with the hairline go down to the start of the brow and then bottom of the nose and finally the bottom of the chin so you get three parts and depending on the person it really it varies a lot how long each one of these is in the loomis book and other drawing books they teach you to do three equal parts but that's not always the case in real life looking at models and references and there might be a perspective change or something like that so i'm going to use my pencil and thumb i'm holding up in front of me to the image on the tv across the room and i'm finding um i'm going to find a point underneath the nose and to the start of the brow and so the point of my pencil will be at the brow and then my thumb will find the bottom of the nose then i'll take that measurement and compare it to the brow to the hairline and see if they're equal or or what you know to see if they're a little bit longer or whatever so it's it's a comparative measuring technique so in this case it's pretty close to being equal and the nose might be a little bit shorter than the hairline to the brow in which case we already have it like that so i'm going to leave my mark for bottom of the nose pretty much where it is and now i'm going to check the bottom third and compare that to the middle third and just by looking at the image you can see that the bottom third is probably longer than the middle and i'm just going to see by how much using the same pencil and thumb technique and it comes up to about right here from bottom of the nose to this point is the length of the bottom third so i need to bring the jaw line or the chin down quite a bit i'm also going to compare it again i'm going to take the measurement again like this and i'm going to compare it to the hairline just make sure so chin to the bottom of the nose comparing it to the brow to the hairline and it falls somewhere about right there so i'm going to take that measurement and come down so it's pretty close so now we can take this and readjust our drawing a little bit and now i'm going to take a measurement of the width of the face and compare to the length and i'm guessing that it's gonna the the width will probably probably be about the same as from the brow to the bottom of the chin it can vary different lengths but i want to get that ratio pretty close so with my pencil again i'm going to go from basically the let's see the peak of his nose is the tip of his nose is right at the edge of the cheek so let's go ahead and just place in the very generic blocky shape of the nose getting that brow or the the bridge of the nose angle correct and now we know that the cheek comes right through the tip of the nose and then down and we'll get to this this portion after we get the width but i just wanted to get the peak of the nose the tip of the nose so i can take that measurement and then compare it to the length of the face so pencil and thumb to the nose and then to the outside right at the beginning of the ear and that jaw line right there now i'm turning it over and checking to the bottom of the chin and it comes to about right here so it's a little bit beyond the brow just barely so we're right on the money really and so no need to adjust that i'm going to check the angle the angle can come in a little bit steeper and then the bottom part of the jaw and that's pretty much it for the overall blocky shape of the jawline so now let's place in the bottom of the ear using a horizontal line with my pencil if it goes straight across it comes about right here and then the top of the ear comes through the eye somewhere so this is not a very good estimation yet but it gets us in the ballpark and as i draw in more of the features and i'll re i'll re i'll measure again to make sure that the ear is not too low or too high just by looking at it i think it might be it might be a little too low or too small i think it's probably too small but we'll just place that in for now and let's come up here and do the arch of the eyebrow actually let's do the uh the glabella shape that's that wedge shape between the eyes so take that out and his eyebrow starts here on that side and this side comes up and over let's see the center line about right here so let's do a sweep for the arch kind of rhythm of the brow and then on this side comes over and it gives us the brow ridge and that's where we get that side plane change of the cranium the temporal zone and then don't really see we can take this rhythm all the way through if you like let's just come up here to the brow i'm just going to sketch in basic shape of the the whole brow ridge and then the top portion of the eye and i think i'll go ahead and just do the eyeball itself so sweeping from side to side for that top rhythm of the or excuse me the rhythm of that top eyelid and then from there i'm just going to come in and sketch in the the sphere for the eyeball and same on this side which you can't see much because it's tucked under the nose and also under underneath that brow ridge and let's go ahead and work on the nose get that placed in nice so the center line comes down here and then through here just checking with my pencil it's more of an angle and then it curves because the the cylinder of the mouth the teeth they call it the teeth cylinder and this is about where the philtrum on this side would come out and then the other side of that philtrum and then that cupid's bow of the ellipse and let's do the the underside of the nostril and then the side you can draw like a little oval shape or the structure of that cartilage and also the main cartilage of the nose to help give some underlying structure and now i'm going to try to find the inside corner of the eye so some techniques some people use the the angle of the bridge of the nose and they'll come straight over and then use the other parallel line something like that and sometimes it works um in this case i don't think it will i think it'll push the eye too far that way um let me check with a i'm going to use a plumb line a vertical line uh looking at my image in front of me right at the inside corner of the eye then i can see about how far away i am from the nostril and actually this might actually work for him i might be wrong let's see it's pretty close i think it's a little bit further in it's the line goes through here so if i take that parallel line and i come down it cuts through the nostril just a little bit the wing of the nostril so it's not exactly on the outside but it's a little bit on the inside so now we know the inside corner of the eye is right there and it's probably a little bit higher you just sort of have to look at the distance from here to that rhythm underneath the eye and seeing this distance so that looks better to me and let's go ahead and sketch that upper eyelid it's a very shallow sliver it's like a little you don't see much of his upper eyelid it's tucked underneath the heavy brow um the heavy brow ridge and he has a really thick eyebrow as well i'm gonna show a little bit more actually because you're the artist you can do anything you want if you want a thicker eyelid you can make it so you know some people get really hung up on trying to get things exactly what they see i understand that's that's really good i mean that's what we're mostly trying to do um but sometimes if you see someone and you want to redesign it and to try to make it look uh better or cooler i mean go for it i wouldn't i wouldn't try to stick to reality all the time try to design things to make it basically you're just trying to make a good drawing make it look like a good drawing versus like a photograph and that's why i like the freehand style that i learned over at watts atelier because mostly it's it's trying to copy uh you know what we see but it's also artistic expression all wrapped in together so it's like a i don't know i i really enjoy those two together i think i think there's a balance somewhere and everybody's a little different and that's where style and personality comes through so that basic shape of the eye so you see how using that drawing that sphere of the eyeball at least for me it really helps because then i can uh mentally think about the three-dimensional thing that i'm drawing that i'm drawing an eye lid that's wrapping around a ball so now let's go to [Music] a little bit of the rhythm right here you see the mid cheek furrow that comes out from that the um that groove right there is the uh some people call it the tear duct groove or the their teardrop groove because if you cry that's where the drops will kind of gather and drip down your cheek and it goes into the mid cheek furrow when she's a young guy so by time you get to here it kind of disappears and you might see a little bit down here but again he's pretty young so you won't see much of those lines yet in his face come back in like 20 years and you'll see them let's see so his eyebrow is about right there so before i get into more of the features i should actually finish the overall head it's kind of like one of the things i have a hard time is like trying to remember to do things in a stepwise process like overall head shape and then you go in and work on the features but sometimes i forget even after all these years i still forget let's see so his hair kind of comes over here and then hair is like another another opportunity to just have fun and design cool shapes and try to make a cool looking drawing you don't have to stick to exactly what you see if you're trying to get the person's likeness yeah you're trying to stick to what you see but i mean when it comes to hair you get to have a lot a lot more uh leeway and get to do what you really just have fun you know do what you want and just have fun i'll probably just come in later with some tone i don't know yet we'll see i might keep this just a simple drawing for the demo like a simple line drawing so this comes down his hair comes out it's like a really warm day and i got the the windows open so you can hear people outside at the garbage dumpster area taking out their trash let's see let's go over here to the hairline he's got this sideburn then we'll come up to here and then he has this the rhythm because of the side change of his head the side plane the plane change from the front to the side and then that hair comes up and we can come over we can do like a little texture for the hair on this side he's got some long strands of hair down here and now i'm going to check that top of the ear again so a straight line across a horizontal line straight across his face from the top of his ear cuts right through this eye so i think i got it pretty close then i'll check the bottom again and it's about the top of the yeah so we're good we're good on the ear so i'm going to go ahead and map in basic the basic uh anatomy shapes of the ear here come down so we have the helix i make a little bit thicker so you can see it and then the tragus and the this is the lobule the earlobe and the antitragus right here let me come up let me start into the anti-helix portion and the fossa and the concha let's make his ear more attached than i had it all right i'm gonna make his cash out a little heavier too a little a little more much more wider just for looks okay so let's come up here and just work on the shape of the hair so we have some hair right here that's overlapping so i'm using the side of my pencil to create that texture because it gives me like really fine lines when i use the side of the pencil and and drag it across the paper like like not i'm not doing a lot of pressure on the pencil it's quite gentle but it leaves really thin and dark lines very delicate lines and his forehead is right about here in relationship to the eye then we have the flat part flat portion of the eye so this eye is not going to come to a sharp corner like this one this one comes to a very definite sharp triangle edge right on this side because it's on the wrapping around the far side of the face it's going to be more flat so those two eye shapes are going to be really quite different from each other because of that perspective and then again with that cylinder of the teeth and then the chin is going to line up with the eye right about here so that's one area that i'll make a mistake quite often is on the cylinder of the mouth and the chin i'll bring too far inwards underneath the nose instead of having it where it should be more out and one way to fight that impulse at least for me is to use a plumb line or a vertical line and find where that like the outside edge of that chin lines up with the rest of the features above it to make sure i don't make the mouth too too far in so it really changes the look of the person we have a cash shadow underneath the jaw here which i'm going to exaggerate a little bit this picture is it's a cool picture but it doesn't have really strong shadows there are some but i wish i had a little bit more um a little bit more heavy shadowing but that's okay you get used to these kind of photographs let's see his brow is pretty thick and it's really crisp right here and it thins out let's do the same for the other side it's even more pronounced that crisp edge underneath the brow and then it softens up at the top and you can see all the little details of the hair and the brow let's come down and find the let's find the the nodes of the mouth the the corner of the mouth and i'm using a plumb line and it goes straight up right before the inside corner of the eye so if i bring this line down the node the corner of that mouth will be somewhere on that line and i'm going to take an angle as well i don't know i feel like it's let me check that again i think i had it off a little bit i think it lines up pretty close so it's somewhere on this line if i take a straight so now we have a pretty good idea of where that corner of the mouth is and now let's draw the shape of the upper lip and he's got the filter that comes out here and then his upper lip curves over and inward and the bottom lip is underneath the upper lip so the bottom lip doesn't come out beyond the tip of the upper lip so it's sort of tucked under kind of feeling and this line right here would be really soft maybe almost lost i need to bring that corner out just a little bit more and this line right here would be broken indicate that that softness that i see right here and the stair step up comes across and that little wedge underneath the chin and then we have the rhythm for the chin actually his chin is quite large a little bit wider this guy kind of reminds me of like patrick swayze the actor from back in the day from like ghost and what's that dirty dancing it's like he could be like a cousin or something this guy or a second cousin or something let's see so let's come over here i have too much of a curve in that philtrum so let me adjust that a little bit straighter there we go this one curves a little bit getting that far side cheek contour down and then for the rhythm of the cheek bones from riley we take it from you there's two different ways you can take you can take it either from the corner of the mouth to the outside that wing of the nostril and the kind of like right underneath the eye and then over to the ear that's a good one to like make sure everything's locked in i've seen people drop that line down a little bit and come to the outside and then right where that that sphere of the eyeball is and then to the cheek the one i like to do is pretty much just straight up and over like so that's the one i prefer but everybody's different there's so many different rhythm lines they're all they all do the same thing and and help make the face look i heard it why didn't i hear i heard today it was they were talking about the riley rhythms and it's like the poetry of the face the poetry of the body the rhythms the rhythms of the of the body the rhythms of the face i don't know i kind of like that it's like the the poetry of the face because it's how it's like how things flow or that whether it's like the bone structure here but there's also muscle and tendons and they all attach and the rhythe rhythms really follow that and it's it's just a beautiful method so let's see you got this rhythm here as well comes down and wraps over and if i placed in all the rhythms he would start to look really much older than he is like if i put in this nasolabial fold and that mid cheek furrow i was talking about you can do it to help you kind of lock in the structure but just know that it may make the person look older because those are the rhythms that start to show up when we age and uh start to develop lines in our face and basically we start doing i guess we start developing a poetry in our face as we get older that's pretty funny so age equals poetry on the face but um yeah i'm becoming a poet myself so i'm definitely getting a lot more wrinkles over the last couple years it's been interesting to watch especially like the laugh lines like like right here i think that was the first one i noticed when i was like i think it was like 28 27 when i first saw this like crease it's like the first crease in my face and i was like what is that and then now it's just like oh my god i can't can't keep track of everything every crease that develops now sometimes i wake up from a heavy sleep and i'll have like this terrible like crease like right here because i was laying on my face and it was like squishing it so yeah lines in the face tell you a lot about the person's life i suppose hence the poetry of the face see let's go back to this jawline so he's looking pretty good let me go ahead and do this other eye and using that rhythm from side to side to help lock those eyes in together to make them look like they're on that same turning three-quarter pose head so the eyelid upper and then the bottom portion of the upper and we can even go from side to side for the bottom of the eyelid you don't have to make the line but just like track over and then make a mark and you can't even see his eye here it's like just the sliver is showing just a sliver and he's got some eyelashes he's got some beautiful long eyelashes and again in that corner of that eye it's a flat wedge shape not the triangle peak right here but a flat and then really that was like when i learned that actually i still remember where i wrote it down in my journal and my um my notes it was like such an epiphany it was like oh my god what and i even remember the teacher that said it meadow gist and i wrote that down and it was very very helpful let's see it's like i used to in art school i used to try like during the the live demos the teacher would do a demo every day before class like a 20 minute or so and i would try to remember at least two things and write them down and try to remember them and use them throughout the week beyond 2 is pretty difficult if i was feeling real good maybe i'd do a third one but i just try to keep it pretty simple and just try to find one maybe two pearls of wisdom to to write down and memorize and practice throughout the week so i i think that helped a lot seemed like it did so if you remember this one for like a three-quarter pose where the heads are turning and that far side eye is not going to be a sharp point like this eye it's going to be a flat so if you remember that that's the only thing i remember from this video dude you're ahead of the game let's see so let's go over let's give some texture to the hair it's basically basically the style hair hair is like very texturized you can see like different levels of the cut and then down here we get into like long flowing beautiful mullet hair i make fun of mullets but man i don't know i'm starting to think about it like maybe i should try sporting one again i never had a really long one like this i had like your standard like i don't know church going kid kind of mullet i guess it's like a pseudo mullet but nothing as hardcore as this this would be amazing and he's got like the same type of hair that i have i think so that's probably why i'm like hmm i think it's about time i have a mullet i don't want to leave this earth unless i had at least grew one mullet in my life but i don't think my girlfriend's gonna go for that i was also thinking about just uh getting a buzz cut because every once in a while because my hair is long on top it's kind of like a like a great gatsby kind of haircut it's like long on top and short on the sides in the back but the hair on top sometimes it gets caught like under a foot or something in jujitsu and actually it was a couple weeks ago i ripped out a big chunk and it makes makes that horrible sound of the hair ripping surprisingly didn't hurt so you see this rhythm here looks like a plane change of the face and got the cheek i'm gonna highlight somewhere over here let me just take that out so we're not going to do tone this is just a a land study and going over those rhythms of the face and stuff like that so i think we're pretty much done but if you wanted to go into tone [Music] you can use these rhythm lines to sort of locate the the mid-tones so like under the eye here you see that rhythm comes up and you can kind of place that those mid tones in let's go ahead and put a highlight right above that pupil and put some tone in the eye and let me give some more detail for the eyebrow and then this side so maybe put a little bit of tone in the upper lip see how he looks older because that line right there so you can just take those out a little bit knock them down but i do want you to kind of think about those those riley rhythms because it really helps us to build that structure of the face put some occlusion shadows shadows where light cannot get to direct light or reflective light and so the shadow would be really dark and then as it goes away from the source of the thing causing the shadow it kind of lightens up because all that reflective light can get in there kind of map in some of the shadow shapes for the hair it's like a it's like a little bit beyond the um mapping phase or excuse me the lay-in phase but that's okay i'm just having some fun my highlight got a little a little dirty let's pull that out make it look like he's got a little bit of a split in the chin i'm trying to pull out a highlight in his bottom lip and maybe a little bit of a shadow underneath the nose to show that plane change a little little form shadow so we come right here up and over and then think about the peak of the nose and he's got a little bit of a highlight right there and then for the shirt i don't know should i play with the shapes i think i'll just leave it and then on top of his hair again you can just have so much fun with like designing the hair shapes and stuff it's less rules you know that is a sweet mullet right so i went quite a long time on this one i was expecting it only to be like 20 to 30 minutes but i was just having too much fun i think it was going slow because just getting a little a little distracted with the stories and stuff but that's okay all right let's go on to the next one and then see let's try to get a different different pose different mullet i'm just going to turn i'm trying to add a little bit more tone to this portion of the jaw to show that it's turning in all right let's call it [Laughter] all right let's go on to the next one guys all right so let's start off on this really really cool mullet um it's got bangs even and and little zigzags cut into the side pretty stylish so i'm starting off with a little bit of a oval versus a circle because he is in profile and the cranium is more of a oval shape then a perfect circle usually and you can't see the top third of the face or excuse me you can't see the uh the hairline but it's probably somewhere right there and the brow would be here and bottom of his nose i would say it's probably about right there and of course his chin the bottom third of his face looks a lot longer than the middle third and i would place that about there if i took a measurement from the bottom of the chin to bottom of the nose it looks like it comes to this point above the brow and with my pencil and thumb i'm going to find the the relationship between the bottom third and the middle third so i'm going from the bottom of the chin to the bottom of the nose and then checking that with the bottom of the nose to the brow and it's right on the money so i got pretty lucky there let's see let me test that again yeah so with that piece of information known i'm going to go ahead and look at the angle of the nose the bridge of the nose and that's my guess and i'm going to double check my guess by holding the pencil up to the image in front of me on the tv across the room and then i'll find the bottom of the nose or the underside of the nose so i get a very simplistic blocky shape of his nose so far and i'll just do the wing of the nostril i can go ahead and take out that little line right there and so so i have thirds of the face locked in and now i need to find the width of his face in relationship to the length so first i'm going to guess to where the ear will start and the jawline is and then i'll check it with my pencil again and he is in profile so this will be pretty wide i'm so used to like that three-quarter pose that i think i need to make it a little bit wider than i think it is so i'm going to measure from the tip of his nose to where the jaws and the the jawline and the ear is so if the ear was here let's say it probably is off a little bit but just so you can see that line right in front of the ear to the tip of the nose with my pencil and thumb finding that distance now i'm going to rotate it and i'm going to measure from bottom of the chin to somewhere up here maybe a little bit further maybe a little bit lower and it hits let me do that again it's kind of shaky and it hits right on the money pretty much so let's go from bottom of the chin to the brow and then tip of the nose and we're actually really far out so i'm really over compensated for thinking the head is wider i'm going to double check that because that was kind of shaky and then bottom of the chin actually looks like it comes to about right there okay so yeah we were off quite a bit so let's bring this line down and find the angle of his jawline and i think the if i just look at the image right about where the this notch is right above the the start of the nose if i come straight down from that point that's about where the the philtrum is attached to the nose the fill trim is that split right here between the uh right like the upper lip the little divot that's the philtrum and so i can use that and start drawing the lips and do a little rhythm for the cheek right here the nasolabial fold and then it goes right into that rhythm goes right into the corner of the mouth and before i proceed to the chin and and such i'm going to take an angle from basically from the tip of the nose to the to the chin so i'm going to basically place the pencil up against the tip of his nose and two where it touches the chin and i'll find that angle and make sure i got that correct it's kind of hard to do when you drink too much coffee and you're shaking quite a bit so it looks like i'm pretty close and i can also use a vertical line a plumb line right at the edge of his chin and it goes up through the eye that's pretty that's about right that's about right so i'm just going to do a little rhythm for the chin it's very round on him and now let's go back to the upper lip i can see that the upper lip is sitting over the bottom lip so it's not the tip of the upper lip is further out than his bottom lip and his bottom of the lip is also much fuller much thicker than the upper lip but it sits underneath the tip here so if we came like a vertical line it won't touch the bottom lip so looking for those like those straight up and down lines those vertical lines the plumb lines really help so like i'm looking at the image on the tv across the room and i can do like these little vertical lines and and see where different features line up with other features so i can lock in and get things lined up correctly now i moved his chin down a bit which means i have to re-measure the width of his face compared to the new length i just created if i want to keep things in the correct relationship to each other and i might have to move the brow up a little bit too i didn't move it very much but for a portrait you know a quarter of an inch is a mile so it means a lot on a portrait you you really change somebody's you can change somebody's likeness by a very just the just the tiniest fraction of an inch difference so let's see let's go ahead and measure again from where the ear starts to tip of the nose and compare that to the length and comes to about right here so i'm still in the same spot pretty much it's a little bit different but not not not by much let's see and to find the bottom of the ear in relationship to the nose i'm going to use my pencil on a horizontal line and it's just a touch higher than the bottom of the nostril here so if i take a line straight across his ear starts right here and let's do the same for the top of the ear and that hits that brow right about the the peak of the brow so now we have a basic block shape of the ear in place and let's go ahead and work on some of the brow ridge structure you have the brow ridge that comes over [Music] you can see that little split in the middle and then he has a side plane of the head which we often see in loomis where he cuts the side of the head off that plane change of the skull and i know he has hair on but uh he has a lot of hair in the back of his head but i'm just going to sketch in ghost in really what i think the skull would look like and then we'll place hair on top of it so in general terms of the the peak of the skull would will be about here right above the ear it'll like the highest point would be about right here the apex and then it'll slope down and then all the way down to the forehead and let's go ahead and do the underside where the neck is he's got the adam's apple and he's turning let's make this a little bit thicker on this side so he's turning his head kind of like this which i can't really do right now because i i injured my neck today in class in a jiu jitsu class like i was just trying to i was trying to do a instagram i saw a move on instagram and i was trying to do it today and and uh of course i injured myself off of a stupid instagram video um it worked i finally got it to work but the first two or three times i i tried to make the move work i was putting all my weight pretty much on my neck and holding myself up with my with my forehead on the mat so which didn't hurt at the time it was actually hurt a little bit later so it was kind of funny in that way hello it's like man why's my neck hurt oh yeah 10 minutes ago i was doing that stupid move but anyway back to the drawing i got i get a little distracted sometimes okay so i went down into the neck here just mapping in the adam's apple and thinking about the form twisting right he's he's turning his back is to us but he's turning and facing us trying to face us he's in profile but he's like he's like looking at us right and are trying to look at her in our direction so we have these overlapping forms and that muscle group the trapezius which attaches to the neck which don't really need to get into that but i just want to get that basic structure down before i go into putting the hair on on the back side i just want to get the head construction pretty locked down so we can also do the the rhythm and the riley which you see me do all the times i really like this rhythm it goes from the corner of the mouth up through the cheekbone through the zygomatic arch of the of the skull and then to the ear some people make it go through here where the zygomatic arch actually flows through it's up to you i like just go through the top of the ear let's get rid of these straight lines i drew across so now i'm going to look into the the whole eye socket deal and so basically what we're doing is starting with the broad or general block shapes of things and then adding more detail so we got the brow here we got the side plane of the head we have the cheek rhythm which shows the side plank or the plane change over the cheekbone and now we can come down you see this line right here it's almost like a sunglass shape of the eye socket it'll start to look like he's wearing some funky looking sunglasses so we just draw this overall shape and this represents the eyeball itself the sphere the ball so we're going to design the eye around the ball almost like a sculpture and at least it helps me to think of it that way um a lot of times when i'm drawing it actually i don't know it just feels like i'm moving things around like like like it's clay or something and i think that just helps identify what looks three dimensional and what looks flat so thinking about the plane changes of the head like these rhythms here if you had another one here you can see like if there's a straight line or a line over the form it would hit this ridge curve over come down the eye come down the eyeball down the cheek and maybe a little flat here and then continue over the chin so thinking about those plane changes really help build up a three-dimensional face so again we got our rhythms so let's look for the inside corner of the eye which is pretty tucked it's tucked in behind the eyeball but let's try to locate that in relationship to the outside of the nostril here and i think it's it's not parallel with the bridge of the nose sometimes it is in this case i think it's more angled in and let's take a uh let's use our pencil to find that angle and then come down so i think that's pretty close i'm also looking at the distance from the eyebrow to the top eyelid and there's a good amount of space there and i can pull that rhythm from from the back side right here and just pull it all the way through and you'll see the far side eyelash actually kind of follows on that rhythm so we have that rhythm for the upper eyelid and we know the corner of the eye is about right there and then you can see the the eyeball is at an angle it's not it's not a um actually like right here we're not up here where it's um straight up and down it's at an angle so it's more like this and then the corner of his eye is pretty high up and then it curves around that eyeball and we'll draw the upper eyelid which is really really thin it's kind of hard to see so we have like a his upper eyelid is actually kind of tucked in nice nicely underneath the brow and now we can sketch in the iris and i think i need to make that eye smaller by making that corner a little bit further in and at a sharper angle okay that feels better and we have the iris here and he has a highlight in there and i think the highlight is probably sitting right on top of the pupil so that's going to make the eye the highlight pop really good let's see let's get that rhythm all the way through and let's clean up some of these lines that i put in and see the brow starts right here it comes over it's pretty straight for the most part i'm going to put a little bit more of an arch in it just for aesthetics personal preference and this wraps around and then let's do the bottom eyelid so the corner is about right here and then the bottom eyelid comes out from behind the eyeball and then creates this little step that comes down and then we go into the tear the tear groove and then again with that nasal labial fold about right here and he doesn't he's a pretty young guy so you're not going to see that mid-cheek furrow really you see a little bit of a value change and color change related to it but it's pretty much non-existent if i put it in really dark it's going to age him make him look older than he is so let's pretty much just take that out completely we'll just leave some indication of that eye socket though right here and let's ease up on some of those those rhythm lines and i'm going to do the underside plane of the nose okay all right so he's looking pretty good so i think i'm ready to go ahead and put hair on him let's see so i'm gonna measure i'm gonna try to find the very top of his hair if i had to guess i think it's probably it's pretty puffy right it's like a mullet but it's like like puffy so i'm gonna make my guess of where the top of the hair is definitely comes down at this really cool angle and then down and around to the front so i'm going to measure from let's say where the ear top of the ear attaches to the to the side of the head and i'm going to take a measurement from here to the very top um border of the hair and see if i got that that correct so i'm going to take this measurement and then i'm going to come down here and compare it to the face so from this point on the ear where it attaches to the very top border of the hair at the top here and it runs off i know it runs off the um the reference image but we can guess it's really close and then let's compare that to the length of the face and it comes just a touch above the eyebrow so that's really long so it looks like we need to go a little bit higher not by much and his hair kind of curves here and then pops back out again and then makes its big curve around the forehead that looks really odd i don't know why drawing it it looks even more odd and for that this point right here i'm going to measure from that uh part in the hair to that point in the ear that we did before so same thing i'm gonna measure for that distance make sure i got the hair shape down in the ballpark at least and it comes to about right here pretty close it just doesn't feel right it's like his hair is so wild that it's it's hard for me to let go and draw it like that okay now let's look at the bang structure or the position of his bangs and they come across to bell right here so let's do the side so if his hair came across if we could see the hairline it'd be something like this and then would change planes it would wrap around that that side plane of the head and then it would turn that corner and i'm just following that basic shape of this hairstyle it's pretty cool and we'll get to that in a moment and his bangs come across it's pretty jagged it's not like super super straight and then it gets really jagged and kind of flows into the long portion of the hair over here so i'm gonna erase all this information of the skull and we get this really good sense of the overall head shape and hair shape let's go ahead and finish the mullet itself so you're coming down something like that he's got some wave wavy hair as it gets longer and we can have a lot of fun with that just designing his hair let's see how does this go and then it's got some strands over here i've been looking at on instagram i've been looking at hairstyles and uh hair salons because some of them they do really good portrait photography i'm like i saw one today and i was just like oh my god this is like perfect you know i was just for like i swear to god like for like almost an hour i'm just looking at all the different uh photos they had i mean they're shooting for the hair but there's such they use like a professional um photography set up at their uh their um hair salon for it and the pictures are just just awesome really good reference for a head drawing see this care comes up kind of wraps up in here and you can have a lot of fun with the hairstyles i know i've been looking at so many uh uh portraits of uh people with mullets that i'm actually starting to think about it actually kind of i don't know never had a mullet that i well maybe i did maybe as a kid it was like a it wasn't like a hardcore one like this but i guess i had something you can call a mullet nowadays but yeah i was like kind of i can see how like influenced i am by what i see on a regular basis it's kind of funny very um impressionable that's probably a part of being an artist let's see just looking at these these how the hair is flowing and i think i need to yeah this comes it's hard to see i should have put it through photoshop so i can see the details a little bit better but it looks like it's coming down from the top like that and then it's tapered it's not a lot of a lot of tapering going on yeah that looks cool man i don't want to do all the spaces exactly even if you want some variation in it um at this point let's go ahead and do the ear i think the ear looks pretty good still i think it's in a good spot nothing crazy about his ear looks pretty standard let me go down into the the tragus which is actually pretty flat on him but i'm going to make a little bit more pronounced okay and his jawline creases right behind the ear increases right here i think i underplayed this adam's apple a little bit let's make that a little bit more prominent nice and the back of his hair i have these cuts into the like these little buzz cuts shape make the edges a little bit jagged and then his hair flows like a river like a waterfall down it cascades down his back of his neck it's so funny let's see [Music] i'm gonna have to get a mullet i need a mullet in my life that just looks cool i'm starting to really like it my girlfriend's not gonna have it though she is not having a boyfriend with a mullet i don't think let's see so i'm going to use some of this side of the pencil and get some little jagged texture in and this comes down almost touches the ear and comes back up then there's some piece right here and a space it's kind of confusing okay nice you can see some scalp they're very white scalp so that's going to be kind of cool if i i'm not sure if i'm going to go into tone too much probably not on this just the lay end but i would hit these edges really dark like right here i'll just do a little bit just to show what i'm thinking of like just like pull that right at the edge and then having done that i can come in here and you can just leave that untouched space as the white of the scalp like right here i think that looks cool and see he's got some more right here and this is a little bit lighter in value it's more delicate fine hair or it's been cut shorter okay let's try hitting those edges a little bit darker okay let's go back to let's go back to the nose can i really just hit some of those edges a little bit sharper he has a very very sharp nose i'm not sure how much value i want to put into this drawing let's see he's got a little bit of a twist over here put some value in the lips and you can almost see like a little bit of a chin boss like almost like a split in his in his chin i feel like if i could see him from the front view you would be able to see see that it's funny there's no really no cast shadow for the ear the light is so like blown out excuse me but let's make that hair that comes out right here really crisp on the edge and soften up down here i'll put some tone just for fun i'm not going to go super dark though and just reiterate some of these these lines and there's some mid-tones his nose has a lot of value on it too that's going to help with that that highlight on the side if i use my tombow eraser the pin eraser just come over here and try to pull that out again i'm going to put some tone in that lower third of the face to kind of show how the light is as it goes down the structure as it goes down the face it loses some of its intensity and i think he might have light eyes i'm not really sure i think i see some blue but definitely let's make that that pupil dark dark and it's surrounding that highlight okay so that mid-cheek furrow i'm just gonna put in some of that that value that you can see like that um it's like a readiness a little bit of red in the cheeks which translates to a value change i really shouldn't go into too much value too much shading on this one it's a nice little rhythm right here i don't really need that super dark on that side plane rhythm it's really a subtle on him and i don't like the hair that tall i know i measured it but i can pretty much tell it's a little bit shorter would be better let me use my tombow to really dig out that line i put in before as best i can let's take out some of these old marks um it doesn't have a highlight on his lip on his lower lip but man i kind of want to put one but i'm gonna i think i'll put one over here actually on this upper lip i see a little bit of a little bit of a highlight what they call the uh white roll you see like on the upper lip on some people it's like a it's like a little area of um uh what do they call it like a like a fat pad or something like that that kind of borders the top lip and it catches light a little bit so it kind of looks like a white little outline they call it a white roll you can see that on usually when people are a little bit younger when you get older that tends to fade away i still need to make my video on how to draw lips and and that'll be definitely be in there let's see let's come over here and i'm going to do some a little bit of a little bit of some shadowing in the ear not much just look for those what they call occlusion shadows okay just going to put a bunch of value in the hair i suppose i got to catch it up to the value on the side so let's go ahead and do that let's just have some fun i'm gonna change pencils that one's got a little hard stone in it i can hear it grinding into the paper and if i keep doing that it's just really gonna tear into it so i have to take a razor blade and just chip it out i'll eventually change over completely to the the wolf's carbon from the conti a perry but i still have i think probably a dozen pencils still unsharpened ones and probably another dozen that are sharpened and ready to go so it'll be a while all right let's hit this pretty dark too right here maybe do like a little bit of like uh indicate some of that layering that i see where it's like really choppy it's really cool looking just break that line a little bit that looks cool nice that is a mullet man that's a cool mullet and now i'm just going to use my eraser to pick out some of that tone that i put down and do it in a way that kind of follows the form of the plane changes basically in a very basic way i think that's it for him yeah give this one a try this is a really fun one uh putting value in the hair was was a blast it was basically just hitting those using the side of the pencil to hit the tapering effect that he has in the haircut then once it comes down here it's it's much longer and flowing lots of texture lots of texture very cool so yeah so i'm just following that that rhythm right here it's kind of the cheek bone from this side but also comes down like a the mid-cheek furrow rhythm but it's only value really at this point there's no groove it's just like a little bit of a plane change let's break this line up all right all right cool hit there hit there last call last call all right i'll call it done that was a fun one so thanks guys for watching and if you can join me on patreon and check it out and um live streams on thursdays live streams on youtube on thursday mornings at 10 a.m and uh hopefully you can join that and i can see you in the chat room otherwise have a great week and i'll see you around bye

Channel: Bradwynn Jones

Views: 544,928

Keywords: sweet mullet, portrait drawing for beginners step by step, how to draw faces, शुरुआती कदम से कदम के लिए चित्र ड्राइंग, कैसे एक चेहरा समझाया कदम से कदम धीरे आकर्षित करने के लिए, how to draw, head construction, reilly rhrythms, loomis method, how to draw a portrait, how to draw the face, reilly method, facial anatomy, how to draw the head, head construction basics, animated head construction, drawing faces for beginners, how to draw face

Id: MJkWTb-Zx44

Length: 168min 25sec (10105 seconds)

Published: Mon Mar 29 2021