Webtoon Advanced Structural Understanding of the Face
GCC Academy
Hello, I am Webtoon artist Uksoo
Last time, we talked about motion
Now that we've learned the skeletal structure of motion,
let's move on to the outlines, the flesh of the drawing
In this session, we'll learn about head structure
Understanding Muscles and Tendons
We're now diving fully into anatomy
The level of muscle detail I'll introduce is about this much
How does it look?
For beginners, even this might seem overwhelming
But what can we do?
We have to try
Let's take a deeper look
Here are the bones
This is a simplified interpretation of the human skeleton
In reality, it's far more complex
The pelvis is especially tricky
The shoulder blades, as well as the bones in the hands and feet, are unforgiving
Now, let's add a layer on top
Ta-da!
Now, muscles have been introduced
Feeling even more overwhelmed?
Various muscles are intertwined in a complex manner
To make it easier to differentiate sections, I used different colors
But it might look even more chaotic this way
That's right
What we're trying to do is quite difficult
But here's some good news
You're not alone
Everyone watching this video is probably feeling the same way
Let's go over a few key points about muscles
Muscles can be divided into two
The muscles themselves, what we call meat,
and tendons
Muscles are like the red parts
of pork or beef that we eat
Cows and pigs move using these red muscle areas,
and humans are the same
When our brain decides to move, it sends a signal through the nerves to the muscles
The muscles contract,
and that's how we move
Tendons are tough membranes that allow muscles to attach to bones
It's right here
They act as bridges connecting bones and muscles
Think about when you eat LA galbi
You’ve probably chewed on a tough, stringy part along with the soft meat
That’s a tendon
What would happen if we only had thick muscle
without tendons connecting it to the bones?
Just like this
Because of the sheer bulk of the muscles, we wouldn’t be able to move properly
So, muscles don’t work on their own
They need tendons as essential connectors to function
One of the most well-known tendons is the Achilles tendon, which even appears in mythology
It’s a strong and durable tendon that connects the shin to the heel
If this tendon ruptures, we wouldn’t be able to walk
And recovery is quite difficult
Tendons also exist in broad, flat areas,
called aponeuroses
Muscles aren't always big, solid masses like biceps
Some muscles, like the abdominal or back muscles, are wide and thin
If they had only thin tendons,
they wouldn’t be securely fixed in place,
and they wouldn’t function properly
That’s why certain muscles are connected with wide, sheet-like tendons
These are called aponeuroses
Like this
For example, if you open up the abdomen, you don’t immediately see the red abdominal muscles
Instead, you first see a broad, white aponeurosis covering them
So the red abs aren't the ones we see
What we see is this white aponeurosis
Like this
Aponeuroses aren’t only in the abdomen they also exist across the forehead and back
You don’t have to memorize this
Just remember that tendons
aren’t always thin and string-like
Some spread out like wide membranes
Muscles, as you know, can be strengthened and enlarged through exercise
But tendons cannot be grown
They are already designed to firmly connect bones and muscles,
which is more than enough of a role
And as you saw earlier, if tendons grew like muscles,
they would just take up unnecessary space in the joints,
hindering movement instead of helping it
Now we know that muscles contract in response to signals,
and tendons transmit that force to bones or other muscles
But there's one more thing to keep in mind
Muscles can only contract
Muscles only pull
They only shorten
Try bending and straightening your arm
When you flex, you can feel the upper arm muscle tighten into a lump
Like this
Now try pulling your ear forcefully
Then quickly release it
How was it?
You can pull,
but it doesn’t snap back into place as quickly as your arm, does it?
Just like shape memory alloy that returns to its original form after being bent,
the muscles also gradually return to their position
Why is that?
The arm has both flexor muscles, which bend the limb,
and extensor muscles, which straighten it
In contrast, the muscles near the ear only function as flexors
As shown in this illustration,
the muscles at a joint always exist in pairs
One for contraction and one for extension
The flexor muscles are called flexors
The extensor muscles are called extensors
A single muscle does not move by itself
Joints always operate in pairs
This is the fundamental mechanism of muscle movement
Now, some of you might wonder, Why do we need to learn about bones?
Isn't understanding muscles enough?
That’s a valid question
After all, most of what appears on the surface of the skin is muscle
However, there are specific points where bones are directly visible,
and in anatomy, these points serve as key landmarks
Unlike muscles, bones remain fixed in place
For example, we are all familiar with the clavicle,
or the collarbone, that best defines the shape of the neck and shoulders
Other visible bones include the elbow, ankle, and scapula
I will explain these in detail later
Since muscles are attached to bones,
understanding the structure of bones,
where they are located and how they are shaped,
is crucial for accurately grasping muscle movement
Bones form the framework of the body
They are the foundation
Key Components of the Face
We will now begin studying anatomy
in the order of the head, torso, arms, and legs
For each section, we will start with the bones,
then layer the muscles on top,
helping us understand the structure
Finally, we will explore how to apply this knowledge to character drawing
Let's begin with the head
This is probably the body part you are most confident in drawing
If you've chosen to watch this lecture,
you've likely already practiced drawing face
A character’s face is the alpha and omega of Webtoon art
Even without knowledge of anatomy, most artists can draw faces
Now, let’s look at the head,
particularly the skull
Here are its various angles
The facial bones are relatively simple and familiar to us
There are different sections such as
the forehead, jaw, cheekbones, and eye sockets
Though these bones are divided into multiple sections, in terms of mobility, only the lower jaw moves
Even though the face can express a wide range of emotions,
the only part of the skull that actually moves is the lower jaw
However, its shape is quite complex
compared to bones like the upper arm bone or thigh bone
So let’s simplify the contours of the facial bones
From a side view, the face has an L-shape,
a thick, rounded L-shape
The eyes are positioned at the midpoint of the head
That is about the halfway mark
The mouth is located one-third of the way between the nose and the chin
With the nose here
and the chin down here,
the mouth sits at the one-third mark
This is called the golden ratio
The ear canal is positioned right above the junction between the skull and cervical spine
We will discuss this in more detail in the facial proportion
By simplifying the complex structure of the facial bones,
we can gain a clearer understanding of head structure
Now, let’s take a look at the facial muscles
It’s incredibly complex
Just looking at it might make you hesitant to start
But we have no choice, we have to do it
Let’s first divide it into sections
Starting with the frontalis,
or the forehead,
we move down past the orbicularis oculi,
then further down into different sections
Following the contours of the eye muscles,
we can divide it like this
From the side, it looks like this
Tracing the shape of the eye muscles, we can connect different areas
The remaining areas can be grouped together
Let's group this part
These muscles in red
are responsible for facial expressions
The other set of muscles,
are mainly responsible for chewing
The muscles involved in chewing are relatively simple,
since chewing itself is not a complex motion
The main muscles here are the temporalis and masseter muscles,
which control chewing movements,
also known as mastication
They're responsible for that
Now,
the red-highlighted areas here
are the facial expression muscles
They are quite intricate
At first glance, they might look overwhelming
But don't worry
There are ways to understand them more easily
First, take a look at the areas around the eyes and mouth
You can see circular muscles forming around them
From the side view, these circular muscles are also clearly visible
Since they encircle the eyes and mouth, their function is easy to understand
These muscles are responsible for opening and closing the eyes and lips
Interestingly, these muscles
have a similar function to another part of the body
Can you guess where?
It’s the anus
While the orbicularis muscles around the eyes and mouth look different from the anal sphincter,
they function in the same way
They contract and relax
The fact that the eyes and mouth have muscles similar to the anus
makes it quite memorable, doesn't it?
Now, here’s an important point
Facial expression muscles spread outward from these circular muscles around the eyes and mouth
Facial expressions follow the movements of the eyes and mouth
Think about it
When you raise your eyebrows or pout your lips,
the skin moves around these key areas
The muscles spread like a web from the circular muscles around the eyes and mouth
So, remember this
Facial muscles extend outward from the muscles around the eyes and mouth
Alright?
Now, even if you don’t memorize the specific names of each muscle,
you should have a better grasp than before
Let’s go over the names of the key muscles
First, we have the orbicularis oculi,
which we have mentioned multiple times
Then, extending from this center like a web, the frontalis muscle controls the forehead
Next, there’s the corrugator supercilii, which helps furrow the eyebrows,
and the nasalis muscle, which scrunches the nose
The procerus muscle is responsible for lifting the bridge of the nose and creating forehead wrinkles
Now, let’s take a look at the mouth
The same principle applies here
The orbicularis oris surrounds the mouth as the central muscle
Because we use our mouths for speaking,
the muscles here are more complex
than those around the eyes or eyebrows
This is because facial expressions like smiling and crying require a lot of intricate movement
For example, we have the zygomaticus minor, which pulls the upper lip upward,
and the zygomaticus major,
which lifts the corners of the mouth into a smile
There are also muscles that pull the mouth downward,
as well as those that pull it upward again
These are the main facial expression muscles
But don’t worry about memorizing
all of these names right now
When you’re drawing a character’s face,
you don’t need to consciously think about every single muscle
Instead, you just need to understand how facial expressions work
Let’s summarize what we’ve covered so far
The facial bones can be simplified into an L-shape
Facial muscles are divided into chewing muscles and expression muscles
Expression muscles spread outward from the muscles around the eyes and mouth,
in a web-like structure
Now, let’s move on to applying this knowledge to character design by focusing on facial contours
First, let’s talk about the eyes
The eyes are the part of the face that people focus on the most
Personally, I believe that
80% of a character’s impression comes from the eyes
When you read a Webtoon, do you focus on a character’s ears?
Or their nose?
Most people’s attention naturally goes to the eyes first
That’s why the eyes are so important,
and why artists put so much effort into drawing them
There are many different styles of eye depiction
Here are some examples from Webtoons
Some artists draw realistic eyes,
while others depict them as simple dots
The level of detail in the eyes varies depending on the genre and tone of the story
So, what do eyes actually look like anatomically?
This is the average shape of a real human eye
The eyelids surround the pupil, forming an upper and lower arc
Since the eyeball is a delicate organ that is constantly exposed,
the eyelids serve to protect it from external harm
So here,
this eye is from the front view
Now, an important question
When we change the angle of the face,
does the eye remain a flat, 2D shape?
Of course not
Just like the face is not flat,
the eyes also
have depth and volume
The shape of the eye changes dramatically compared to the front view
Like this
From the side, the eye is more triangular in shape
Just as the face has gentle curves,
the eye follows the same principle
The tear duct and outer corner of the eye curve inward,
and the outer corner sits deeper toward the ear
That's how it works
This concept might be a bit tricky,
but looking at multiple angles of the eye
can make it easier to understand
Here are some examples of eyes viewed from different angles
As you can see, the eyelids form an elliptical shape around the pupil
You might find it helpful to sketch the eyeball shape
as you see right here
When viewed from the front,
the upper eyelid slightly covers the pupil
Like this
Meanwhile, the lower eyelid covers the lower part of the sclera
And the most important part, the eyeball, is spherical
Now, let’s examine how the eyelids interact with this sphere
The pupil sits here
And the eyeball is positioned like this
So how do the eyelids behave?
They follow the curvature of the eyeball
This means the upper eyelid forms a more pronounced curve upward,
while the lower eyelid follows
the contour of the eyeball’s lower arc
Understanding this is crucial for accurately drawing eyelids
This is the basic structure of the eye
From here, you can modify the design in various ways
For example, adding double eyelids
or aegyosal, the puffy lower eyelid fat
That part is entirely up to personal style
At this point, I imagine many of you are wondering,
How do I apply eye anatomy to my own character designs?
So, let’s assume
you’ve already drawn your character’s eyes from the front
Here are the three manga-style eye designs
Mostly in Japanese manga style
Now, how would these eyes appear in a side profile?
Here it is
A side view is different from a flat front view
You need to mentally rotate the shape along a curved surface
This means that the tear duct area will hardly be visible,
since it curves inward
Meanwhile, the outer corner of the eye
will be more pronounced
or even exaggerated depending on your style
This is where spatial awareness becomes important
The fundamentals remain the same,
but you need to consider
how eyelids wrap
around the eyeball’s curved shape
Let’s look at different angles
Here’s the eye at a 45-degree angle,
as seen from below,
and as seen from above
In each view, some parts become hidden,
while others that weren’t visible from the front become more pronounced
Once again,
remember that eyes are curved, not flat
This is a very important point
If you understand this,
you’ll be able to draw eyes from various perspectives while staying true to your art style
Here's the summary
The eye consists of the pupil, covered by the upper and lower eyelids
It is not a flat shape but follows a gentle curve
When unsure about an angle,
imagine how the eyelids wrap around a spherical eyeball
So that's the summary
It sure is difficult
Especially when drawing upward or downward perspectives,
it’s common to struggle despite understanding the theory
It's very hard
I had the same problem
But as I said before,
difficult things take time
That’s completely normal
Just keep drawing
Now, let’s move on to the nose
The nose isn’t just for smelling and breathing
It also plays a key role in defining a character’s face
Since the nose often represents maturity or masculinity,
some art styles, like shoujo manga or gag comics,
reduce it to a dot or a single line
But if we look at the structure, it’s not that simple
The upper half of the nose consists of bone,
which connects to the skull
The lower half is made of flexible cartilage
And there’s also fat tissue around it
This is why the tip of the nose
moves slightly when you press on it
Now, let's draw it
The front view
Start with the bridge of the nose, drawing downward
This creates the nasal ridge
At the bottom, draw a small circle for the tip of the nose
Like that
Then, add two smaller circles for the nostrils
Refine the lines, and the basic nose structure is complete
The nose appears more three-dimensional from the side or at a 45-degree angle than from the front
In a side view, start with the nasal root, then sketch the bridge down to the tip
Add circles for the nostrils and wings of the nose
Finally, draw the nostrils, and it’s done
That's how it looks
Let's try drawing from different angles
This time, the nostrils are visible in the structure
The same principle applies to this angle as well
First, draw the bridge of the nose
Then, at the tip of the drawn bridge, add a circle to indicate the nose bulb
Next, draw the outer visible nasal wings
On the other hand, the inner nasal wing on the opposite side will hardly be visible
However, it's important to position it while thinking in three dimensions
Once the lines are refined, the final structure should look like this
The nose is more complex than it appears
To be honest, anatomical noses feel a bit unfamiliar to me as well
That's because my drawing style leans more towards shoujo manga aesthetics
It looks something like this
Typically, a front-facing nose is represented with just a dot
Alternatively, some styles connect two nostrils with a single line
The problem with simplifying the nose like this arises
when the character's head is turned to the side, up, or down
At these angles, a nose can't simply remain as a dot
Even if you represent the nose as a dot,
you need to predefine aspects
such as the size of the nasal wings and how tall the nose extends
This height determination is crucial
because it affects how much the nose obscures the eyes
Now, observe the flow of the red guideline here
It's this illustration
It shows the starting point of the nose bridge
This is the point
Many people start drawing a nose directly from the bridge,
but instead, begin from the root of the nose located between the eyebrows
and then make a turn at the nasal bridge
Doing so allows you to accurately determine
the position of the eyes
After that, continue drawing the nasal bridge downward
At the most protruding part of the nose tip,
make a turn that leads into the philtrum
The same principle applies from the opposite angle
Start the guideline from the outer edge of the eyebrow,
draw it down, and let it curve at the nasal bridge
Then, from the bridge, extend it towards the nasal wings
Now, I'll add the nostrils here
So it will complete this part of the nose
This approach helps determine how much of the eyes are obstructed
and allows for a three-dimensional perspective
I personally think this is the most critical aspect when drawing noses
The nose bridge line that starts from the root of the nose is essential
Whether your drawing style uses a simple dot for the nose,
or includes detailed nostrils and nasal wings,
it's up to your artistic preference
However, no matter the style, when rotating a character's head,
you must ensure the nose maintains its three-dimensionality
To achieve this, understanding
how the bridge of the nose
flows from the root at the eyebrows is crucial
Once you grasp this, I would say that drawing noses is almost done
So, we'll conclude the nose section here
Next, let's move on to the mouth
The mouth is another key facial feature, second only to the eyes
It expresses emotions such as
sensuality, excitement, tension,
hesitation, and fear,
in dramatic scenes with close-up shots
Personally, I find that mouths aren’t too difficult to draw unless you add lips
However, drawing lips makes things significantly more complicated
Let's see
Lips cover the upper and lower jawbones
And just like the eyeballs, these bones are also rounded and protrude outward
Think about what happens when you bite into an apple
You can visualize the shape of that bite
Just like the eyes, the mouth isn’t a flat surface
It's curved
Now, look at this side view of the mouth
Since the upper jawbone protrudes more than the lower jaw,
the upper lip also sticks out more than the lower lip
It gently covers the lower lip
Here are examples of mouths from various angles
When viewed from the front, the mouth takes the shape of a bow
From the side, due to the protrusion of the lips,
additional contours are needed to show the dimensionality
While the mouth is relatively simple to draw from the front,
at a 45-degree angle, its three-dimensional form becomes more apparent
Let's try drawing lips
Consider the central part of the upper lip and the two outer edges of the lower lip as spheres
The upper lip forms a bow shape with these spheres in place
Using this as a guide, the lip lines are constructed
I mentioned that the lips take on a bow shape
Following this natural curve, the upper lip line is formed
The central part of the upper lip protrudes the most,
covering part of the lower lip
Conversely, the protruding part of the lower lip
also follows the guideline of these spheres
Thus, this forms the lips when the mouth is closed
Now, let's try drawing an open mouth
What becomes visible?
That's right
Teeth, tongue, the roof of the mouth, and so on
It may be graphic to some
Here’s an anatomical view of an open mouth
As you can see, the tongue is at the center, surrounded by teeth,
with the uvula visible at the back
People have different mouth sizes, which affects how wide they can open their mouths,
but there is always a limit to how far it can stretch
Front and side views are relatively easy to calculate
However, drawing an open mouth at a 45-degree angle,
especially when considering the oral structure, requires more imagination
Depending on how wide the mouth is open and the intensity of emotion,
you must decide how much of the teeth will be visible and how far the tongue will protrude
Be sure to account for these factors carefully when drawing
We'll conclude our discussion on the mouth here
Lastly, let's briefly go over the ears
Ears are organs responsible for hearing
To efficiently transmit external sounds to the inner ear,
they have a complex, swirling structure,
like a spiral
I remember watching a children's cartoon when I was young,
where the artist simply drew ears as semicircles
and filled the inner details with a 6-shaped line
I thought, oh, you can draw ears that way too
Ears tend to be more noticeable from the side rather than the front
People often assume that ears are stuck flat against the sides of the head
However, just like the eyes, nose, and mouth, ears also have depth
The outer contour of the ear consists of two overlapping ellipses of different sizes
Inside, there are two primary lines
one following the upper ellipse from the ear canal, and another sweeping downward
along the lower part of the ear canal
Additional lines help depict the shape of the helix and the earlobe
Ears also have top, bottom, front, and back portions that should be considered
Honestly, knowing just this much about ear anatomy is sufficient for drawing characters in comics
However, there is one common mistake
Many beginners draw ears incorrectly when viewed from behind
When viewed from above, ears tilt forward at an angle of about 15 degrees
So if you're drawing ears from the back,
would the commonly drawn shape still be correct?
No, it wouldn’t
Instead, the back of the ear should be slightly visible from this perspective
This is a frequent mistake among beginners
Once you understand this concept, we can move on from ears
Assembling the Face: Combining Facial Features
Now that we've covered
the eyes, nose, mouth, and ears,
let’s turn the head around in multiple perspectives
in this final assembly time
Earlier, we simplified the entire head shape using a thick, angular L form
Like so
Think of shaping the face by refining that outline,
gradually carving along the structure of the bones and muscles
First, let’s look at the face from the front and the side
These angles should be familiar
Especially the front view
it's likely the one you've drawn the most
For the side view, it's important to understand the transition areas
where the forehead angles into the eyebrow ridge, and where the eyes and nose shift
The eyebrow ridge
It is particularly distinct between Western and Eastern facial structures
In general, Western faces have a more pronounced protrusion here,
while East Asian faces tend to have a smoother transition
Similarly, Western eyes tend to be more deeply set,
whereas East Asian eyes are positioned closer to the nasal bridge
The line extending from the bridge of the nose
then sharply descends at the nasal wing, forming the mouth contour
From the front view, the face appears relatively flat,
but when turned to the side, its outline undergoes significant changes
For instance, the jawline drops considerably
Think about the shape of the lower jawbone
Although the masseter muscle and facial fat influence the contour,
the general jawline follows an upward path towards the ear
As you can see, the jawline does not immediately connect directly to the neck
That's because various muscles exist beneath the lower jawbone
Thus, the jawline extends downward before transitioning into the neck
Meanwhile, the back of the head isn’t a perfect circle It's an asymmetrical ellipse
Like so
Rather than a smooth, round sphere, it protrudes unevenly in some areas
That's how the general shape of the skull works
With that in mind, we now have the side view outline of the head
Now, let's place the eyes, nose, mouth, and ears
When viewed from the side, the eyes appear less prominent than in the front view
They are less visible
So if you feel like they look off, don’t worry
Draw them in a triangular shape that follows the eye contour
Following the eye corner’s natural direction, extend a straight line toward the ear
From the side, when splitting the head down the middle,
the back of the skull is slightly set further back
Thus, the center line should be positioned accordingly,
with the ear drawn slightly toward the rear
Now, as we refine the details, we add the mouth
And this becomes
the classic skull we all know
Now, let's work on the 45-degree angle
In reality, you will likely draw characters in a 45-degree perspective even more often
During dialogue scenes, characters typically interact with each other at this angle
That’s why mastering this perspective is crucial
Rather than just the nose and lips, the contours are influenced more
by the forehead, cheeks, and jawline
Think back to the L-shaped head structure
This is the L shape of the head
Same thing here
The center here
That's how it dents like so
This accurately positions the eyebrow ridge and cheekbones
The volume of the cheek and its projection towards the chin
depends on your stylistic choices
Once it extends downward to meet the jawline,
it smoothly transitions into the lower jaw contour
At this point, add the ear,
sketch the back of the head,
and finally insert the eyes, nose, mouth, and ears
Same thing
Starting from the root of the eyebrow, over the bridge of the nose
Pay attention to this line
Then, following that line, we draw the mouth
The same applies to the opposite angle
Now, look at this angle
From this perspective, the eyes, nose, and mouth are not visible
The facial structure starts from the forehead, dips down at the eyebrows,
then extends to the cheek and jawline
As mentioned earlier, the ear
should not be drawn
the same way it appears from a front-facing perspective
Instead, only the back portion of the ear is visible
Next, give the back of the head a sense of volume
Extend the neck downward with an S-shaped curve
If you feel that the empty eye area looks too plain,
you can add a simple eyebrow to enhance the expression
This is a technique I learned from artist Yang Young-soon
Finally,
the camera is positioned diagonally up and down
These angles evoke feelings of sympathy,
sorrow, intimidation, or confidence
Of course, you can choose to omit such angles
or replace them with alternative scenes
But we can't avoid it just because we can't draw it
We may as well avoid it though we can draw it
So let's give it a try
First, let’s draw a cross guideline
Drawing a cross guideline is a useful habit
It helps maintain the three-dimensionality of the face
by serving as a reference for the positioning of the eyes and nose
As always, when sketching these guidelines,
make sure to consider the curvature of the head
Let's start by looking at this angle
In this angle, the forehead appears most prominent
Let's slightly lower the opacity of the guideline
Let's do this
Since the forehead is emphasized in this perspective,
the brow ridge sharply transitions downward
Think of this line as the division between the first and second floor of the face
The brow ridge becomes distinct enough to create a layered effect
Following this ridge,
the structure bends inward
at the root of the eyebrow, then transitions smoothly into the bridge of the nose
As I keep mentioning,
understanding this fundamental structure
determines whether you can successfully depict a three-dimensional face
So, we proceed by drawing the eyes
The eyes
Since the nose is protruding in this angle,
the mouth will naturally be obscured beneath it
We then define the jawline along the cheekbones, leading down to the chin
Next, add the ear
Since the forehead
that we drew is prominent,
ensure the back of the head extends outward too
Let’s add some details to the ear
Some details to the ear
And refine the lips
That completes this angle
Now, let’s consider the reverse angle
In this case, the eyes are mostly obscured,
but the mouth is much more visible
Same thing here
understand the indentation
from the eye area down to the cheekbone
Use the cross guideline
to think of the face as having two separate planes, the two different floors
At the base of the brow ridge, the structure sharply drops
to the nasal area
This line then extends toward the cheek
The jawline continues downward from there
Let’s also sketch the back of the head
Now, the ear
along the descending curve of the back of the head
The outline of the skull extends downward
Pay close attention to the jawline here
Follow the lower jaw contour carefully
Use the cross guideline
to consider how the eyes maintain their three-dimensional form
Think about how the eyelid covers the round shape
Same with the mouth
Think about how they recede inward in a three-dimensional space
Next, add the details of the ear canal and earlobe
Now, refine the jawline
and add details on the mouth
This completes this angle
We’ve covered everything from facial anatomy to head turnarounds
I initially thought this would be a simple lesson,
but it turned out to be quite extensive
There are still more details I could discuss,
but we’ll wrap it up here for now
The face is, above all, an artist’s signature
While assistants may handle body illustrations, they rarely work on the face
That’s because the face is a defining aspect of an artist’s identity
I’ve discussed a lot of complex concepts,
but don’t feel pressured to remember everything
If even a few ideas from today’s lesson help improve your work,
that’s more than enough
You don’t need to perfect everything all at once,
as long as you continue working on your projects
Great job so far
See you in the next session
Thank you
Understanding Muscles and Tendons Understanding Human Anatomy Muscles and tendons When nerves send signals, muscles contract and move
Tendons help muscles attach to bones Aponeuroses are broad, flat tendons that connect muscles to each other
Muscles can only contract Arms contain both flexor and extensor muscles Those around the ears only allow for contraction
Eyes A major role in a character’s expression Intricate organs that are constantly exposed Eyelids exist to protect them
From the front, it is not flat but gently curved From the side, the tear gland area is mostly hidden
Nose The nose should not be a simple dot in other angles The area of the nostrils and the height of the nasal bridge must be predefined
Start from the root of the nasal bridge to better align with the eyes
Mouth Soft tissues covering the upper and lower jawbones The upper lip also protrudes more than the lower lip
The size of a person’s mouth varies Teeth and tongue are visible depending on: How widely is the mouth open? How intense is the emotion?
Ears With curves and folds to transmit the sound Lines representing the auricle and earlobe are needed From above, tilted 15 degrees
Drawing the Entire Face Carve the outline according to the form of the bones and muscles The masseter muscle and fat influence the jawline
Back of the head is an asymmetrical oval Profile views for conversation scenes Outer contour affected by forehead, cheeks, and jawline
S-curve from the back of the head to the nape of the neck Cross guideline to add depth for eyes and nose placement