WEBVTT 1 00:00:03.820 --> 00:00:10.371 Webtoon Advanced Structural Understanding of the Face 2 00:00:10.371 --> 00:00:12.634 GCC Academy 3 00:00:24.896 --> 00:00:27.256 Hello, I am Webtoon artist Uksoo 4 00:00:27.256 --> 00:00:29.516 Last time, we talked about motion 5 00:00:30.496 --> 00:00:33.636 Now that we've learned the skeletal structure of motion, 6 00:00:34.256 --> 00:00:37.056 let's move on to the outlines, the flesh of the drawing 7 00:00:37.636 --> 00:00:40.256 In this session, we'll learn about head structure 8 00:00:40.798 --> 00:00:44.898 Understanding Muscles and Tendons 9 00:00:45.936 --> 00:00:49.396 We're now diving fully into anatomy 10 00:00:50.936 --> 00:00:53.896 The level of muscle detail I'll introduce is about this much 11 00:00:54.416 --> 00:00:55.176 How does it look? 12 00:00:56.056 --> 00:00:59.375 For beginners, even this might seem overwhelming 13 00:00:59.815 --> 00:01:00.875 But what can we do? 14 00:01:01.335 --> 00:01:02.035 We have to try 15 00:01:02.695 --> 00:01:05.396 Let's take a deeper look 16 00:01:06.096 --> 00:01:07.256 Here are the bones 17 00:01:08.136 --> 00:01:10.676 This is a simplified interpretation of the human skeleton 18 00:01:11.096 --> 00:01:12.496 In reality, it's far more complex 19 00:01:12.896 --> 00:01:15.435 The pelvis is especially tricky 20 00:01:16.015 --> 00:01:19.416 The shoulder blades, as well as the bones in the hands and feet, are unforgiving 21 00:01:20.736 --> 00:01:22.856 Now, let's add a layer on top 22 00:01:24.096 --> 00:01:25.175 Ta-da! 23 00:01:25.495 --> 00:01:27.636 Now, muscles have been introduced 24 00:01:28.096 --> 00:01:29.296 Feeling even more overwhelmed? 25 00:01:30.336 --> 00:01:32.996 Various muscles are intertwined in a complex manner 26 00:01:33.696 --> 00:01:36.895 To make it easier to differentiate sections, I used different colors 27 00:01:38.415 --> 00:01:40.356 But it might look even more chaotic this way 28 00:01:41.576 --> 00:01:42.376 That's right 29 00:01:42.376 --> 00:01:45.435 What we're trying to do is quite difficult 30 00:01:46.175 --> 00:01:47.835 But here's some good news 31 00:01:48.175 --> 00:01:49.315 You're not alone 32 00:01:49.855 --> 00:01:53.276 Everyone watching this video is probably feeling the same way 33 00:01:54.056 --> 00:01:56.856 Let's go over a few key points about muscles 34 00:01:57.016 --> 00:01:59.536 Muscles can be divided into two 35 00:01:59.608 --> 00:02:01.528 The muscles themselves, what we call meat, 36 00:02:02.976 --> 00:02:06.195 and tendons 37 00:02:07.535 --> 00:02:11.616 Muscles are like the red parts 38 00:02:11.792 --> 00:02:14.132 of pork or beef that we eat 39 00:02:16.336 --> 00:02:19.655 Cows and pigs move using these red muscle areas, 40 00:02:19.815 --> 00:02:21.255 and humans are the same 41 00:02:21.375 --> 00:02:26.215 When our brain decides to move, it sends a signal through the nerves to the muscles 42 00:02:26.535 --> 00:02:28.556 The muscles contract, 43 00:02:30.037 --> 00:02:32.077 and that's how we move 44 00:02:33.216 --> 00:02:37.655 Tendons are tough membranes that allow muscles to attach to bones 45 00:02:37.655 --> 00:02:38.776 It's right here 46 00:02:41.776 --> 00:02:45.496 They act as bridges connecting bones and muscles 47 00:02:45.496 --> 00:02:47.796 Think about when you eat LA galbi 48 00:02:47.797 --> 00:02:52.029 You’ve probably chewed on a tough, stringy part along with the soft meat 49 00:02:52.496 --> 00:02:54.215 That’s a tendon 50 00:02:55.175 --> 00:02:58.176 What would happen if we only had thick muscle 51 00:02:58.177 --> 00:03:00.237 without tendons connecting it to the bones? 52 00:03:01.256 --> 00:03:02.236 Just like this 53 00:03:02.696 --> 00:03:06.936 Because of the sheer bulk of the muscles, we wouldn’t be able to move properly 54 00:03:07.416 --> 00:03:12.136 So, muscles don’t work on their own 55 00:03:12.136 --> 00:03:17.915 They need tendons as essential connectors to function 56 00:03:19.015 --> 00:03:23.836 One of the most well-known tendons is the Achilles tendon, which even appears in mythology 57 00:03:24.216 --> 00:03:28.896 It’s a strong and durable tendon that connects the shin to the heel 58 00:03:29.616 --> 00:03:33.796 If this tendon ruptures, we wouldn’t be able to walk 59 00:03:34.256 --> 00:03:35.935 And recovery is quite difficult 60 00:03:36.675 --> 00:03:39.116 Tendons also exist in broad, flat areas, 61 00:03:39.496 --> 00:03:40.856 called aponeuroses 62 00:03:41.056 --> 00:03:45.296 Muscles aren't always big, solid masses like biceps 63 00:03:45.856 --> 00:03:53.716 Some muscles, like the abdominal or back muscles, are wide and thin 64 00:03:54.136 --> 00:03:56.927 If they had only thin tendons, 65 00:03:56.927 --> 00:03:58.847 they wouldn’t be securely fixed in place, 66 00:03:58.847 --> 00:04:01.315 and they wouldn’t function properly 67 00:04:01.655 --> 00:04:08.975 That’s why certain muscles are connected with wide, sheet-like tendons 68 00:04:09.295 --> 00:04:11.316 These are called aponeuroses 69 00:04:12.476 --> 00:04:13.635 Like this 70 00:04:14.275 --> 00:04:19.016 For example, if you open up the abdomen, you don’t immediately see the red abdominal muscles 71 00:04:19.256 --> 00:04:24.395 Instead, you first see a broad, white aponeurosis covering them 72 00:04:25.535 --> 00:04:29.575 So the red abs aren't the ones we see 73 00:04:29.575 --> 00:04:32.776 What we see is this white aponeurosis 74 00:04:34.856 --> 00:04:35.636 Like this 75 00:04:40.868 --> 00:04:45.948 Aponeuroses aren’t only in the abdomen they also exist across the forehead and back 76 00:04:48.548 --> 00:04:50.167 You don’t have to memorize this 77 00:04:50.437 --> 00:04:53.315 Just remember that tendons 78 00:04:53.315 --> 00:04:56.675 aren’t always thin and string-like 79 00:04:56.675 --> 00:05:01.408 Some spread out like wide membranes 80 00:05:02.208 --> 00:05:06.528 Muscles, as you know, can be strengthened and enlarged through exercise 81 00:05:06.868 --> 00:05:10.364 But tendons cannot be grown 82 00:05:10.364 --> 00:05:13.964 They are already designed to firmly connect bones and muscles, 83 00:05:13.964 --> 00:05:15.484 which is more than enough of a role 84 00:05:15.948 --> 00:05:19.088 And as you saw earlier, if tendons grew like muscles, 85 00:05:19.396 --> 00:05:22.516 they would just take up unnecessary space in the joints, 86 00:05:23.500 --> 00:05:25.040 hindering movement instead of helping it 87 00:05:25.708 --> 00:05:28.247 Now we know that muscles contract in response to signals, 88 00:05:28.248 --> 00:05:32.248 and tendons transmit that force to bones or other muscles 89 00:05:32.708 --> 00:05:34.947 But there's one more thing to keep in mind 90 00:05:35.088 --> 00:05:37.988 Muscles can only contract 91 00:05:38.587 --> 00:05:40.147 Muscles only pull 92 00:05:40.485 --> 00:05:41.725 They only shorten 93 00:05:42.331 --> 00:05:46.791 Try bending and straightening your arm 94 00:05:48.547 --> 00:05:51.687 When you flex, you can feel the upper arm muscle tighten into a lump 95 00:05:52.007 --> 00:05:53.527 Like this 96 00:05:53.847 --> 00:05:59.327 Now try pulling your ear forcefully 97 00:06:01.268 --> 00:06:02.948 Then quickly release it 98 00:06:04.200 --> 00:06:05.200 How was it? 99 00:06:06.428 --> 00:06:08.428 You can pull, 100 00:06:08.429 --> 00:06:12.888 but it doesn’t snap back into place as quickly as your arm, does it? 101 00:06:13.147 --> 00:06:17.467 Just like shape memory alloy that returns to its original form after being bent, 102 00:06:17.467 --> 00:06:19.647 the muscles also gradually return to their position 103 00:06:21.348 --> 00:06:23.008 Why is that? 104 00:06:23.392 --> 00:06:28.272 The arm has both flexor muscles, which bend the limb, 105 00:06:28.272 --> 00:06:30.628 and extensor muscles, which straighten it 106 00:06:31.928 --> 00:06:35.668 In contrast, the muscles near the ear only function as flexors 107 00:06:35.909 --> 00:06:37.788 As shown in this illustration, 108 00:06:37.789 --> 00:06:41.016 the muscles at a joint always exist in pairs 109 00:06:41.016 --> 00:06:44.708 One for contraction and one for extension 110 00:06:45.945 --> 00:06:47.825 The flexor muscles are called flexors 111 00:06:48.226 --> 00:06:50.026 The extensor muscles are called extensors 112 00:06:50.868 --> 00:06:52.968 A single muscle does not move by itself 113 00:06:53.521 --> 00:06:55.561 Joints always operate in pairs 114 00:06:56.525 --> 00:06:59.485 This is the fundamental mechanism of muscle movement 115 00:07:00.668 --> 00:07:04.488 Now, some of you might wonder, Why do we need to learn about bones? 116 00:07:04.711 --> 00:07:07.671 Isn't understanding muscles enough? 117 00:07:08.308 --> 00:07:09.668 That’s a valid question 118 00:07:10.323 --> 00:07:12.623 After all, most of what appears on the surface of the skin is muscle 119 00:07:13.068 --> 00:07:17.228 However, there are specific points where bones are directly visible, 120 00:07:17.768 --> 00:07:20.648 and in anatomy, these points serve as key landmarks 121 00:07:21.267 --> 00:07:25.307 Unlike muscles, bones remain fixed in place 122 00:07:26.028 --> 00:07:28.428 For example, we are all familiar with the clavicle, 123 00:07:29.509 --> 00:07:34.509 or the collarbone, that best defines the shape of the neck and shoulders 124 00:07:34.948 --> 00:07:41.008 Other visible bones include the elbow, ankle, and scapula 125 00:07:41.716 --> 00:07:45.276 I will explain these in detail later 126 00:07:46.347 --> 00:07:48.528 Since muscles are attached to bones, 127 00:07:48.529 --> 00:07:50.169 understanding the structure of bones, 128 00:07:50.467 --> 00:07:53.007 where they are located and how they are shaped, 129 00:07:53.331 --> 00:07:55.371 is crucial for accurately grasping muscle movement 130 00:07:56.028 --> 00:07:57.247 Bones form the framework of the body 131 00:07:57.719 --> 00:07:58.719 They are the foundation 132 00:07:59.099 --> 00:08:03.279 Key Components of the Face 133 00:08:03.907 --> 00:08:06.828 We will now begin studying anatomy 134 00:08:06.829 --> 00:08:10.989 in the order of the head, torso, arms, and legs 135 00:08:11.308 --> 00:08:14.368 For each section, we will start with the bones, 136 00:08:14.369 --> 00:08:16.653 then layer the muscles on top, 137 00:08:16.654 --> 00:08:18.338 helping us understand the structure 138 00:08:18.648 --> 00:08:23.048 Finally, we will explore how to apply this knowledge to character drawing 139 00:08:23.668 --> 00:08:24.508 Let's begin with the head 140 00:08:24.955 --> 00:08:28.695 This is probably the body part you are most confident in drawing 141 00:08:28.831 --> 00:08:31.020 If you've chosen to watch this lecture, 142 00:08:31.020 --> 00:08:33.700 you've likely already practiced drawing face 143 00:08:34.600 --> 00:08:38.107 A character’s face is the alpha and omega of Webtoon art 144 00:08:38.627 --> 00:08:41.287 Even without knowledge of anatomy, most artists can draw faces 145 00:08:41.915 --> 00:08:44.355 Now, let’s look at the head, 146 00:08:44.356 --> 00:08:45.726 particularly the skull 147 00:08:46.535 --> 00:08:48.247 Here are its various angles 148 00:08:48.518 --> 00:08:51.798 The facial bones are relatively simple and familiar to us 149 00:08:52.176 --> 00:08:55.107 There are different sections such as 150 00:08:55.427 --> 00:08:58.667 the forehead, jaw, cheekbones, and eye sockets 151 00:08:58.894 --> 00:09:07.174 Though these bones are divided into multiple sections, in terms of mobility, only the lower jaw moves 152 00:09:08.874 --> 00:09:11.008 Even though the face can express a wide range of emotions, 153 00:09:11.009 --> 00:09:13.749 the only part of the skull that actually moves is the lower jaw 154 00:09:14.388 --> 00:09:16.708 However, its shape is quite complex 155 00:09:18.228 --> 00:09:20.848 compared to bones like the upper arm bone or thigh bone 156 00:09:22.344 --> 00:09:26.924 So let’s simplify the contours of the facial bones 157 00:09:27.667 --> 00:09:31.907 From a side view, the face has an L-shape, 158 00:09:32.947 --> 00:09:34.328 a thick, rounded L-shape 159 00:09:36.547 --> 00:09:40.807 The eyes are positioned at the midpoint of the head 160 00:09:42.141 --> 00:09:44.001 That is about the halfway mark 161 00:09:44.547 --> 00:09:49.617 The mouth is located one-third of the way between the nose and the chin 162 00:09:50.058 --> 00:09:51.558 With the nose here 163 00:09:52.519 --> 00:09:53.839 and the chin down here, 164 00:09:54.023 --> 00:09:56.643 the mouth sits at the one-third mark 165 00:09:57.987 --> 00:09:59.667 This is called the golden ratio 166 00:10:02.727 --> 00:10:12.967 The ear canal is positioned right above the junction between the skull and cervical spine 167 00:10:13.847 --> 00:10:16.587 We will discuss this in more detail in the facial proportion 168 00:10:17.719 --> 00:10:20.499 By simplifying the complex structure of the facial bones, 169 00:10:21.079 --> 00:10:23.859 we can gain a clearer understanding of head structure 170 00:10:25.508 --> 00:10:27.467 Now, let’s take a look at the facial muscles 171 00:10:30.447 --> 00:10:31.487 It’s incredibly complex 172 00:10:31.782 --> 00:10:33.762 Just looking at it might make you hesitant to start 173 00:10:33.923 --> 00:10:36.423 But we have no choice, we have to do it 174 00:10:37.287 --> 00:10:39.488 Let’s first divide it into sections 175 00:10:40.135 --> 00:10:42.075 Starting with the frontalis, 176 00:10:42.535 --> 00:10:43.535 or the forehead, 177 00:10:47.068 --> 00:10:51.727 we move down past the orbicularis oculi, 178 00:10:53.387 --> 00:10:57.089 then further down into different sections 179 00:10:57.089 --> 00:11:00.628 Following the contours of the eye muscles, 180 00:11:00.629 --> 00:11:03.404 we can divide it like this 181 00:11:04.028 --> 00:11:05.568 From the side, it looks like this 182 00:11:06.054 --> 00:11:09.874 Tracing the shape of the eye muscles, we can connect different areas 183 00:11:11.587 --> 00:11:20.088 The remaining areas can be grouped together 184 00:11:20.348 --> 00:11:21.847 Let's group this part 185 00:11:35.896 --> 00:11:37.296 These muscles in red 186 00:11:39.096 --> 00:11:43.996 are responsible for facial expressions 187 00:11:45.616 --> 00:11:49.156 The other set of muscles, 188 00:11:52.176 --> 00:11:54.855 are mainly responsible for chewing 189 00:11:59.955 --> 00:12:05.556 The muscles involved in chewing are relatively simple, 190 00:12:15.252 --> 00:12:18.152 since chewing itself is not a complex motion 191 00:12:18.732 --> 00:12:26.312 The main muscles here are the temporalis and masseter muscles, 192 00:12:26.313 --> 00:12:27.753 which control chewing movements, 193 00:12:27.754 --> 00:12:29.274 also known as mastication 194 00:12:29.772 --> 00:12:30.712 They're responsible for that 195 00:12:31.895 --> 00:12:32.895 Now, 196 00:12:34.452 --> 00:12:37.812 the red-highlighted areas here 197 00:12:40.592 --> 00:12:41.772 are the facial expression muscles 198 00:12:42.395 --> 00:12:43.535 They are quite intricate 199 00:12:44.216 --> 00:12:45.796 At first glance, they might look overwhelming 200 00:12:46.192 --> 00:12:47.492 But don't worry 201 00:12:47.659 --> 00:12:49.759 There are ways to understand them more easily 202 00:12:51.371 --> 00:12:54.812 First, take a look at the areas around the eyes and mouth 203 00:12:56.135 --> 00:13:00.235 You can see circular muscles forming around them 204 00:13:01.812 --> 00:13:06.772 From the side view, these circular muscles are also clearly visible 205 00:13:11.869 --> 00:13:16.469 Since they encircle the eyes and mouth, their function is easy to understand 206 00:13:16.873 --> 00:13:21.133 These muscles are responsible for opening and closing the eyes and lips 207 00:13:22.409 --> 00:13:24.401 Interestingly, these muscles 208 00:13:24.401 --> 00:13:27.002 have a similar function to another part of the body 209 00:13:27.202 --> 00:13:27.962 Can you guess where? 210 00:13:29.689 --> 00:13:30.999 It’s the anus 211 00:13:31.582 --> 00:13:37.082 While the orbicularis muscles around the eyes and mouth look different from the anal sphincter, 212 00:13:37.082 --> 00:13:38.303 they function in the same way 213 00:13:38.649 --> 00:13:39.889 They contract and relax 214 00:13:40.742 --> 00:13:43.482 The fact that the eyes and mouth have muscles similar to the anus 215 00:13:44.195 --> 00:13:45.195 makes it quite memorable, doesn't it? 216 00:13:46.209 --> 00:13:48.273 Now, here’s an important point 217 00:13:48.962 --> 00:13:55.302 Facial expression muscles spread outward from these circular muscles around the eyes and mouth 218 00:13:55.885 --> 00:13:59.139 Facial expressions follow the movements of the eyes and mouth 219 00:13:59.140 --> 00:14:00.061 Think about it 220 00:14:00.322 --> 00:14:03.122 When you raise your eyebrows or pout your lips, 221 00:14:03.123 --> 00:14:06.343 the skin moves around these key areas 222 00:14:07.609 --> 00:14:13.949 The muscles spread like a web from the circular muscles around the eyes and mouth 223 00:14:14.449 --> 00:14:15.608 So, remember this 224 00:14:16.244 --> 00:14:19.664 Facial muscles extend outward from the muscles around the eyes and mouth 225 00:14:20.250 --> 00:14:21.148 Alright? 226 00:14:21.488 --> 00:14:24.187 Now, even if you don’t memorize the specific names of each muscle, 227 00:14:24.327 --> 00:14:27.347 you should have a better grasp than before 228 00:14:28.208 --> 00:14:30.788 Let’s go over the names of the key muscles 229 00:14:31.128 --> 00:14:34.308 First, we have the orbicularis oculi, 230 00:14:34.868 --> 00:14:36.868 which we have mentioned multiple times 231 00:14:39.900 --> 00:14:48.700 Then, extending from this center like a web, the frontalis muscle controls the forehead 232 00:14:49.100 --> 00:14:54.900 Next, there’s the corrugator supercilii, which helps furrow the eyebrows, 233 00:14:54.900 --> 00:14:59.460 and the nasalis muscle, which scrunches the nose 234 00:15:00.900 --> 00:15:07.040 The procerus muscle is responsible for lifting the bridge of the nose and creating forehead wrinkles 235 00:15:07.660 --> 00:15:09.320 Now, let’s take a look at the mouth 236 00:15:10.732 --> 00:15:12.172 The same principle applies here 237 00:15:12.320 --> 00:15:14.560 The orbicularis oris surrounds the mouth as the central muscle 238 00:15:19.584 --> 00:15:21.124 Because we use our mouths for speaking, 239 00:15:21.543 --> 00:15:24.043 the muscles here are more complex 240 00:15:24.044 --> 00:15:28.864 than those around the eyes or eyebrows 241 00:15:29.264 --> 00:15:35.803 This is because facial expressions like smiling and crying require a lot of intricate movement 242 00:15:36.203 --> 00:15:39.683 For example, we have the zygomaticus minor, which pulls the upper lip upward, 243 00:15:39.843 --> 00:15:45.403 and the zygomaticus major, 244 00:15:46.283 --> 00:15:48.083 which lifts the corners of the mouth into a smile 245 00:15:48.464 --> 00:15:50.684 There are also muscles that pull the mouth downward, 246 00:15:51.835 --> 00:15:53.555 as well as those that pull it upward again 247 00:15:55.163 --> 00:15:58.484 These are the main facial expression muscles 248 00:15:59.612 --> 00:16:02.652 But don’t worry about memorizing 249 00:16:02.653 --> 00:16:04.133 all of these names right now 250 00:16:04.988 --> 00:16:07.148 When you’re drawing a character’s face, 251 00:16:07.622 --> 00:16:13.522 you don’t need to consciously think about every single muscle 252 00:16:15.464 --> 00:16:18.824 Instead, you just need to understand how facial expressions work 253 00:16:21.163 --> 00:16:23.444 Let’s summarize what we’ve covered so far 254 00:16:23.811 --> 00:16:26.891 The facial bones can be simplified into an L-shape 255 00:16:27.684 --> 00:16:31.724 Facial muscles are divided into chewing muscles and expression muscles 256 00:16:32.085 --> 00:16:37.685 Expression muscles spread outward from the muscles around the eyes and mouth, 257 00:16:38.124 --> 00:16:41.103 in a web-like structure 258 00:16:42.675 --> 00:16:46.555 Now, let’s move on to applying this knowledge to character design by focusing on facial contours 259 00:16:47.003 --> 00:16:48.383 First, let’s talk about the eyes 260 00:16:49.221 --> 00:16:52.221 The eyes are the part of the face that people focus on the most 261 00:16:52.403 --> 00:16:55.504 Personally, I believe that 262 00:16:55.504 --> 00:16:59.324 80% of a character’s impression comes from the eyes 263 00:17:00.123 --> 00:17:04.684 When you read a Webtoon, do you focus on a character’s ears? 264 00:17:04.843 --> 00:17:05.843 Or their nose? 265 00:17:06.284 --> 00:17:09.204 Most people’s attention naturally goes to the eyes first 266 00:17:09.762 --> 00:17:11.582 That’s why the eyes are so important, 267 00:17:11.583 --> 00:17:15.633 and why artists put so much effort into drawing them 268 00:17:16.294 --> 00:17:17.884 There are many different styles of eye depiction 269 00:17:19.119 --> 00:17:21.139 Here are some examples from Webtoons 270 00:17:21.364 --> 00:17:25.163 Some artists draw realistic eyes, 271 00:17:25.662 --> 00:17:27.762 while others depict them as simple dots 272 00:17:28.203 --> 00:17:32.243 The level of detail in the eyes varies depending on the genre and tone of the story 273 00:17:32.603 --> 00:17:36.984 So, what do eyes actually look like anatomically? 274 00:17:37.767 --> 00:17:41.487 This is the average shape of a real human eye 275 00:17:41.724 --> 00:17:49.563 The eyelids surround the pupil, forming an upper and lower arc 276 00:17:50.523 --> 00:17:55.024 Since the eyeball is a delicate organ that is constantly exposed, 277 00:17:55.724 --> 00:18:01.723 the eyelids serve to protect it from external harm 278 00:18:02.103 --> 00:18:03.764 So here, 279 00:18:05.574 --> 00:18:07.160 this eye is from the front view 280 00:18:07.560 --> 00:18:09.384 Now, an important question 281 00:18:09.784 --> 00:18:11.864 When we change the angle of the face, 282 00:18:12.691 --> 00:18:16.131 does the eye remain a flat, 2D shape? 283 00:18:16.684 --> 00:18:17.664 Of course not 284 00:18:18.225 --> 00:18:19.685 Just like the face is not flat, 285 00:18:20.286 --> 00:18:21.606 the eyes also 286 00:18:22.067 --> 00:18:23.507 have depth and volume 287 00:18:24.684 --> 00:18:28.063 The shape of the eye changes dramatically compared to the front view 288 00:18:29.435 --> 00:18:30.435 Like this 289 00:18:30.803 --> 00:18:36.244 From the side, the eye is more triangular in shape 290 00:18:39.203 --> 00:18:41.903 Just as the face has gentle curves, 291 00:18:41.904 --> 00:18:43.587 the eye follows the same principle 292 00:18:44.082 --> 00:18:47.802 The tear duct and outer corner of the eye curve inward, 293 00:18:48.823 --> 00:18:52.483 and the outer corner sits deeper toward the ear 294 00:18:54.404 --> 00:18:57.244 That's how it works 295 00:18:57.584 --> 00:18:59.084 This concept might be a bit tricky, 296 00:18:59.302 --> 00:19:02.763 but looking at multiple angles of the eye 297 00:19:02.763 --> 00:19:04.343 can make it easier to understand 298 00:19:05.324 --> 00:19:07.363 Here are some examples of eyes viewed from different angles 299 00:19:08.132 --> 00:19:13.952 As you can see, the eyelids form an elliptical shape around the pupil 300 00:19:14.603 --> 00:19:19.703 You might find it helpful to sketch the eyeball shape 301 00:19:20.379 --> 00:19:22.179 as you see right here 302 00:19:24.484 --> 00:19:27.163 When viewed from the front, 303 00:19:27.164 --> 00:19:30.794 the upper eyelid slightly covers the pupil 304 00:19:33.543 --> 00:19:34.564 Like this 305 00:19:36.604 --> 00:19:41.244 Meanwhile, the lower eyelid covers the lower part of the sclera 306 00:19:44.935 --> 00:19:50.395 And the most important part, the eyeball, is spherical 307 00:19:51.095 --> 00:19:55.155 Now, let’s examine how the eyelids interact with this sphere 308 00:19:55.735 --> 00:19:57.335 The pupil sits here 309 00:19:58.330 --> 00:20:01.050 And the eyeball is positioned like this 310 00:20:02.095 --> 00:20:04.254 So how do the eyelids behave? 311 00:20:04.938 --> 00:20:07.458 They follow the curvature of the eyeball 312 00:20:07.775 --> 00:20:15.275 This means the upper eyelid forms a more pronounced curve upward, 313 00:20:15.615 --> 00:20:22.075 while the lower eyelid follows 314 00:20:22.076 --> 00:20:25.529 the contour of the eyeball’s lower arc 315 00:20:28.575 --> 00:20:34.894 Understanding this is crucial for accurately drawing eyelids 316 00:20:37.434 --> 00:20:39.134 This is the basic structure of the eye 317 00:20:39.134 --> 00:20:43.475 From here, you can modify the design in various ways 318 00:20:44.015 --> 00:20:46.614 For example, adding double eyelids 319 00:20:46.614 --> 00:20:49.474 or aegyosal, the puffy lower eyelid fat 320 00:20:49.774 --> 00:20:51.235 That part is entirely up to personal style 321 00:20:52.855 --> 00:20:57.714 At this point, I imagine many of you are wondering, 322 00:20:59.014 --> 00:21:03.035 How do I apply eye anatomy to my own character designs? 323 00:21:04.175 --> 00:21:06.394 So, let’s assume 324 00:21:06.871 --> 00:21:11.431 you’ve already drawn your character’s eyes from the front 325 00:21:12.414 --> 00:21:15.655 Here are the three manga-style eye designs 326 00:21:15.655 --> 00:21:17.335 Mostly in Japanese manga style 327 00:21:20.895 --> 00:21:26.054 Now, how would these eyes appear in a side profile? 328 00:21:29.454 --> 00:21:30.774 Here it is 329 00:21:30.774 --> 00:21:33.514 A side view is different from a flat front view 330 00:21:33.515 --> 00:21:36.155 You need to mentally rotate the shape along a curved surface 331 00:21:36.694 --> 00:21:42.715 This means that the tear duct area will hardly be visible, 332 00:21:42.935 --> 00:21:46.854 since it curves inward 333 00:21:47.374 --> 00:21:52.435 Meanwhile, the outer corner of the eye 334 00:21:52.436 --> 00:21:55.356 will be more pronounced 335 00:21:55.535 --> 00:22:00.115 or even exaggerated depending on your style 336 00:22:01.775 --> 00:22:04.615 This is where spatial awareness becomes important 337 00:22:04.615 --> 00:22:08.335 The fundamentals remain the same, 338 00:22:08.915 --> 00:22:12.094 but you need to consider 339 00:22:12.094 --> 00:22:14.234 how eyelids wrap 340 00:22:14.854 --> 00:22:18.335 around the eyeball’s curved shape 341 00:22:19.255 --> 00:22:21.055 Let’s look at different angles 342 00:22:22.715 --> 00:22:24.775 Here’s the eye at a 45-degree angle, 343 00:22:25.895 --> 00:22:27.814 as seen from below, 344 00:22:28.374 --> 00:22:30.234 and as seen from above 345 00:22:31.214 --> 00:22:36.295 In each view, some parts become hidden, 346 00:22:36.695 --> 00:22:40.655 while others that weren’t visible from the front become more pronounced 347 00:22:41.415 --> 00:22:44.654 Once again, 348 00:22:44.654 --> 00:22:47.115 remember that eyes are curved, not flat 349 00:22:47.116 --> 00:22:49.844 This is a very important point 350 00:22:50.775 --> 00:22:52.195 If you understand this, 351 00:22:52.403 --> 00:22:57.263 you’ll be able to draw eyes from various perspectives while staying true to your art style 352 00:22:58.255 --> 00:22:59.294 Here's the summary 353 00:22:59.374 --> 00:23:04.535 The eye consists of the pupil, covered by the upper and lower eyelids 354 00:23:05.335 --> 00:23:08.735 It is not a flat shape but follows a gentle curve 355 00:23:09.335 --> 00:23:13.615 When unsure about an angle, 356 00:23:13.615 --> 00:23:19.314 imagine how the eyelids wrap around a spherical eyeball 357 00:23:19.814 --> 00:23:21.734 So that's the summary 358 00:23:21.734 --> 00:23:22.854 It sure is difficult 359 00:23:23.254 --> 00:23:26.214 Especially when drawing upward or downward perspectives, 360 00:23:26.214 --> 00:23:29.134 it’s common to struggle despite understanding the theory 361 00:23:29.514 --> 00:23:30.514 It's very hard 362 00:23:30.674 --> 00:23:31.755 I had the same problem 363 00:23:32.955 --> 00:23:35.094 But as I said before, 364 00:23:35.814 --> 00:23:37.495 difficult things take time 365 00:23:37.495 --> 00:23:39.434 That’s completely normal 366 00:23:40.214 --> 00:23:42.354 Just keep drawing 367 00:23:42.814 --> 00:23:44.075 Now, let’s move on to the nose 368 00:23:44.415 --> 00:23:47.374 The nose isn’t just for smelling and breathing 369 00:23:47.374 --> 00:23:49.134 It also plays a key role in defining a character’s face 370 00:23:49.654 --> 00:23:53.335 Since the nose often represents maturity or masculinity, 371 00:23:53.335 --> 00:23:56.335 some art styles, like shoujo manga or gag comics, 372 00:23:56.335 --> 00:23:59.434 reduce it to a dot or a single line 373 00:24:00.094 --> 00:24:02.875 But if we look at the structure, it’s not that simple 374 00:24:04.895 --> 00:24:09.514 The upper half of the nose consists of bone, 375 00:24:11.574 --> 00:24:13.095 which connects to the skull 376 00:24:14.375 --> 00:24:17.287 The lower half is made of flexible cartilage 377 00:24:19.175 --> 00:24:20.894 And there’s also fat tissue around it 378 00:24:21.354 --> 00:24:25.055 This is why the tip of the nose 379 00:24:25.055 --> 00:24:27.915 moves slightly when you press on it 380 00:24:28.615 --> 00:24:30.154 Now, let's draw it 381 00:24:32.574 --> 00:24:33.454 The front view 382 00:24:33.454 --> 00:24:36.455 Start with the bridge of the nose, drawing downward 383 00:24:36.775 --> 00:24:38.114 This creates the nasal ridge 384 00:24:38.534 --> 00:24:41.334 At the bottom, draw a small circle for the tip of the nose 385 00:24:41.334 --> 00:24:42.238 Like that 386 00:24:42.454 --> 00:24:45.855 Then, add two smaller circles for the nostrils 387 00:24:46.215 --> 00:24:49.535 Refine the lines, and the basic nose structure is complete 388 00:24:50.375 --> 00:24:55.234 The nose appears more three-dimensional from the side or at a 45-degree angle than from the front 389 00:24:56.414 --> 00:24:58.995 In a side view, start with the nasal root, then sketch the bridge down to the tip 390 00:24:59.375 --> 00:25:04.414 Add circles for the nostrils and wings of the nose 391 00:25:06.014 --> 00:25:08.754 Finally, draw the nostrils, and it’s done 392 00:25:09.574 --> 00:25:11.774 That's how it looks 393 00:25:12.454 --> 00:25:14.134 Let's try drawing from different angles 394 00:25:14.454 --> 00:25:16.354 This time, the nostrils are visible in the structure 395 00:25:16.974 --> 00:25:18.475 The same principle applies to this angle as well 396 00:25:18.815 --> 00:25:20.455 First, draw the bridge of the nose 397 00:25:21.495 --> 00:25:26.355 Then, at the tip of the drawn bridge, add a circle to indicate the nose bulb 398 00:25:27.815 --> 00:25:33.635 Next, draw the outer visible nasal wings 399 00:25:34.775 --> 00:25:39.675 On the other hand, the inner nasal wing on the opposite side will hardly be visible 400 00:25:41.515 --> 00:25:44.655 However, it's important to position it while thinking in three dimensions 401 00:25:46.175 --> 00:25:54.895 Once the lines are refined, the final structure should look like this 402 00:25:55.414 --> 00:25:57.494 The nose is more complex than it appears 403 00:25:57.814 --> 00:26:00.894 To be honest, anatomical noses feel a bit unfamiliar to me as well 404 00:26:01.254 --> 00:26:04.234 That's because my drawing style leans more towards shoujo manga aesthetics 405 00:26:05.094 --> 00:26:06.334 It looks something like this 406 00:26:06.874 --> 00:26:09.574 Typically, a front-facing nose is represented with just a dot 407 00:26:10.234 --> 00:26:13.854 Alternatively, some styles connect two nostrils with a single line 408 00:26:15.734 --> 00:26:19.634 The problem with simplifying the nose like this arises 409 00:26:19.634 --> 00:26:22.074 when the character's head is turned to the side, up, or down 410 00:26:22.774 --> 00:26:25.654 At these angles, a nose can't simply remain as a dot 411 00:26:26.094 --> 00:26:28.034 Even if you represent the nose as a dot, 412 00:26:28.034 --> 00:26:31.734 you need to predefine aspects 413 00:26:31.734 --> 00:26:35.434 such as the size of the nasal wings and how tall the nose extends 414 00:26:35.894 --> 00:26:38.034 This height determination is crucial 415 00:26:38.034 --> 00:26:41.133 because it affects how much the nose obscures the eyes 416 00:26:42.933 --> 00:26:48.173 Now, observe the flow of the red guideline here 417 00:26:49.073 --> 00:26:50.154 It's this illustration 418 00:26:51.534 --> 00:26:54.293 It shows the starting point of the nose bridge 419 00:26:54.293 --> 00:26:56.853 This is the point 420 00:26:57.313 --> 00:27:02.214 Many people start drawing a nose directly from the bridge, 421 00:27:02.754 --> 00:27:05.714 but instead, begin from the root of the nose located between the eyebrows 422 00:27:06.234 --> 00:27:11.694 and then make a turn at the nasal bridge 423 00:27:12.874 --> 00:27:18.793 Doing so allows you to accurately determine 424 00:27:19.033 --> 00:27:20.254 the position of the eyes 425 00:27:21.134 --> 00:27:23.533 After that, continue drawing the nasal bridge downward 426 00:27:24.533 --> 00:27:27.834 At the most protruding part of the nose tip, 427 00:27:27.834 --> 00:27:30.594 make a turn that leads into the philtrum 428 00:27:31.474 --> 00:27:33.394 The same principle applies from the opposite angle 429 00:27:34.274 --> 00:27:38.313 Start the guideline from the outer edge of the eyebrow, 430 00:27:39.433 --> 00:27:44.113 draw it down, and let it curve at the nasal bridge 431 00:27:44.433 --> 00:27:49.054 Then, from the bridge, extend it towards the nasal wings 432 00:27:49.834 --> 00:27:54.833 Now, I'll add the nostrils here 433 00:27:57.573 --> 00:28:00.614 So it will complete this part of the nose 434 00:28:02.234 --> 00:28:05.494 This approach helps determine how much of the eyes are obstructed 435 00:28:05.494 --> 00:28:09.733 and allows for a three-dimensional perspective 436 00:28:10.573 --> 00:28:14.054 I personally think this is the most critical aspect when drawing noses 437 00:28:16.913 --> 00:28:24.354 The nose bridge line that starts from the root of the nose is essential 438 00:28:24.814 --> 00:28:28.114 Whether your drawing style uses a simple dot for the nose, 439 00:28:28.114 --> 00:28:31.114 or includes detailed nostrils and nasal wings, 440 00:28:31.114 --> 00:28:32.474 it's up to your artistic preference 441 00:28:32.474 --> 00:28:35.414 However, no matter the style, when rotating a character's head, 442 00:28:35.814 --> 00:28:38.614 you must ensure the nose maintains its three-dimensionality 443 00:28:38.614 --> 00:28:41.614 To achieve this, understanding 444 00:28:41.614 --> 00:28:46.333 how the bridge of the nose 445 00:28:47.553 --> 00:28:50.354 flows from the root at the eyebrows is crucial 446 00:28:50.954 --> 00:28:53.974 Once you grasp this, I would say that drawing noses is almost done 447 00:28:54.594 --> 00:28:56.973 So, we'll conclude the nose section here 448 00:28:57.853 --> 00:28:59.014 Next, let's move on to the mouth 449 00:29:00.454 --> 00:29:04.654 The mouth is another key facial feature, second only to the eyes 450 00:29:04.654 --> 00:29:06.386 It expresses emotions such as 451 00:29:06.386 --> 00:29:09.426 sensuality, excitement, tension, 452 00:29:09.426 --> 00:29:11.394 hesitation, and fear, 453 00:29:11.394 --> 00:29:13.533 in dramatic scenes with close-up shots 454 00:29:14.333 --> 00:29:17.833 Personally, I find that mouths aren’t too difficult to draw unless you add lips 455 00:29:19.333 --> 00:29:23.073 However, drawing lips makes things significantly more complicated 456 00:29:23.633 --> 00:29:25.133 Let's see 457 00:29:25.833 --> 00:29:29.294 Lips cover the upper and lower jawbones 458 00:29:29.534 --> 00:29:34.653 And just like the eyeballs, these bones are also rounded and protrude outward 459 00:29:36.193 --> 00:29:39.594 Think about what happens when you bite into an apple 460 00:29:39.594 --> 00:29:42.814 You can visualize the shape of that bite 461 00:29:44.394 --> 00:29:46.374 Just like the eyes, the mouth isn’t a flat surface 462 00:29:46.654 --> 00:29:47.654 It's curved 463 00:29:48.734 --> 00:29:50.313 Now, look at this side view of the mouth 464 00:29:52.693 --> 00:29:55.833 Since the upper jawbone protrudes more than the lower jaw, 465 00:29:55.833 --> 00:29:58.772 the upper lip also sticks out more than the lower lip 466 00:29:59.133 --> 00:30:01.421 It gently covers the lower lip 467 00:30:02.793 --> 00:30:04.347 Here are examples of mouths from various angles 468 00:30:04.894 --> 00:30:08.708 When viewed from the front, the mouth takes the shape of a bow 469 00:30:08.894 --> 00:30:12.595 From the side, due to the protrusion of the lips, 470 00:30:13.034 --> 00:30:15.423 additional contours are needed to show the dimensionality 471 00:30:16.254 --> 00:30:18.493 While the mouth is relatively simple to draw from the front, 472 00:30:18.493 --> 00:30:22.881 at a 45-degree angle, its three-dimensional form becomes more apparent 473 00:30:23.993 --> 00:30:25.399 Let's try drawing lips 474 00:30:26.094 --> 00:30:30.853 Consider the central part of the upper lip and the two outer edges of the lower lip as spheres 475 00:30:31.754 --> 00:30:35.651 The upper lip forms a bow shape with these spheres in place 476 00:30:37.233 --> 00:30:41.294 Using this as a guide, the lip lines are constructed 477 00:30:46.003 --> 00:30:50.283 I mentioned that the lips take on a bow shape 478 00:30:50.283 --> 00:30:55.433 Following this natural curve, the upper lip line is formed 479 00:30:57.323 --> 00:31:03.332 The central part of the upper lip protrudes the most, 480 00:31:03.332 --> 00:31:05.615 covering part of the lower lip 481 00:31:06.563 --> 00:31:09.516 Conversely, the protruding part of the lower lip 482 00:31:09.768 --> 00:31:12.166 also follows the guideline of these spheres 483 00:31:14.948 --> 00:31:18.285 Thus, this forms the lips when the mouth is closed 484 00:31:19.883 --> 00:31:22.578 Now, let's try drawing an open mouth 485 00:31:23.191 --> 00:31:24.554 What becomes visible? 486 00:31:24.723 --> 00:31:25.426 That's right 487 00:31:25.494 --> 00:31:29.405 Teeth, tongue, the roof of the mouth, and so on 488 00:31:31.406 --> 00:31:33.323 It may be graphic to some 489 00:31:33.696 --> 00:31:36.873 Here’s an anatomical view of an open mouth 490 00:31:37.963 --> 00:31:43.752 As you can see, the tongue is at the center, surrounded by teeth, 491 00:31:44.027 --> 00:31:46.573 with the uvula visible at the back 492 00:31:52.402 --> 00:31:55.803 People have different mouth sizes, which affects how wide they can open their mouths, 493 00:31:55.803 --> 00:31:58.282 but there is always a limit to how far it can stretch 494 00:31:58.643 --> 00:32:01.666 Front and side views are relatively easy to calculate 495 00:32:02.179 --> 00:32:04.405 However, drawing an open mouth at a 45-degree angle, 496 00:32:04.603 --> 00:32:09.184 especially when considering the oral structure, requires more imagination 497 00:32:10.442 --> 00:32:17.892 Depending on how wide the mouth is open and the intensity of emotion, 498 00:32:17.893 --> 00:32:20.875 you must decide how much of the teeth will be visible and how far the tongue will protrude 499 00:32:21.362 --> 00:32:23.523 Be sure to account for these factors carefully when drawing 500 00:32:24.542 --> 00:32:26.207 We'll conclude our discussion on the mouth here 501 00:32:28.163 --> 00:32:31.473 Lastly, let's briefly go over the ears 502 00:32:31.682 --> 00:32:33.522 Ears are organs responsible for hearing 503 00:32:33.663 --> 00:32:37.453 To efficiently transmit external sounds to the inner ear, 504 00:32:37.453 --> 00:32:39.932 they have a complex, swirling structure, 505 00:32:39.935 --> 00:32:41.682 like a spiral 506 00:32:42.402 --> 00:32:44.656 I remember watching a children's cartoon when I was young, 507 00:32:44.657 --> 00:32:49.367 where the artist simply drew ears as semicircles 508 00:32:51.002 --> 00:32:53.811 and filled the inner details with a 6-shaped line 509 00:32:55.162 --> 00:32:57.914 I thought, oh, you can draw ears that way too 510 00:32:59.122 --> 00:33:02.571 Ears tend to be more noticeable from the side rather than the front 511 00:33:03.047 --> 00:33:06.437 People often assume that ears are stuck flat against the sides of the head 512 00:33:06.843 --> 00:33:10.558 However, just like the eyes, nose, and mouth, ears also have depth 513 00:33:11.785 --> 00:33:17.010 The outer contour of the ear consists of two overlapping ellipses of different sizes 514 00:33:18.443 --> 00:33:26.042 Inside, there are two primary lines 515 00:33:26.042 --> 00:33:30.374 one following the upper ellipse from the ear canal, and another sweeping downward 516 00:33:30.376 --> 00:33:32.168 along the lower part of the ear canal 517 00:33:32.723 --> 00:33:38.164 Additional lines help depict the shape of the helix and the earlobe 518 00:33:38.882 --> 00:33:41.426 Ears also have top, bottom, front, and back portions that should be considered 519 00:33:41.852 --> 00:33:45.507 Honestly, knowing just this much about ear anatomy is sufficient for drawing characters in comics 520 00:33:45.843 --> 00:33:47.277 However, there is one common mistake 521 00:33:47.809 --> 00:33:51.747 Many beginners draw ears incorrectly when viewed from behind 522 00:33:53.162 --> 00:33:58.723 When viewed from above, ears tilt forward at an angle of about 15 degrees 523 00:33:58.723 --> 00:34:01.094 So if you're drawing ears from the back, 524 00:34:01.462 --> 00:34:03.415 would the commonly drawn shape still be correct? 525 00:34:04.882 --> 00:34:05.630 No, it wouldn’t 526 00:34:06.159 --> 00:34:08.619 Instead, the back of the ear should be slightly visible from this perspective 527 00:34:11.527 --> 00:34:13.678 This is a frequent mistake among beginners 528 00:34:14.556 --> 00:34:17.923 Once you understand this concept, we can move on from ears 529 00:34:18.235 --> 00:34:22.294 Assembling the Face: Combining Facial Features 530 00:34:24.727 --> 00:34:27.441 Now that we've covered 531 00:34:27.824 --> 00:34:30.053 the eyes, nose, mouth, and ears, 532 00:34:31.609 --> 00:34:34.242 let’s turn the head around in multiple perspectives 533 00:34:34.478 --> 00:34:35.558 in this final assembly time 534 00:34:36.443 --> 00:34:41.402 Earlier, we simplified the entire head shape using a thick, angular L form 535 00:34:43.803 --> 00:34:44.791 Like so 536 00:34:45.643 --> 00:34:47.921 Think of shaping the face by refining that outline, 537 00:34:47.921 --> 00:34:52.495 gradually carving along the structure of the bones and muscles 538 00:34:55.402 --> 00:34:57.736 First, let’s look at the face from the front and the side 539 00:34:58.283 --> 00:34:59.358 These angles should be familiar 540 00:34:59.661 --> 00:35:01.751 Especially the front view 541 00:35:03.933 --> 00:35:06.532 it's likely the one you've drawn the most 542 00:35:08.203 --> 00:35:12.736 For the side view, it's important to understand the transition areas 543 00:35:13.722 --> 00:35:18.513 where the forehead angles into the eyebrow ridge, and where the eyes and nose shift 544 00:35:18.842 --> 00:35:19.790 The eyebrow ridge 545 00:35:20.775 --> 00:35:23.552 It is particularly distinct between Western and Eastern facial structures 546 00:35:24.121 --> 00:35:29.715 In general, Western faces have a more pronounced protrusion here, 547 00:35:30.602 --> 00:35:33.806 while East Asian faces tend to have a smoother transition 548 00:35:34.461 --> 00:35:38.268 Similarly, Western eyes tend to be more deeply set, 549 00:35:38.268 --> 00:35:42.515 whereas East Asian eyes are positioned closer to the nasal bridge 550 00:35:43.243 --> 00:35:47.080 The line extending from the bridge of the nose 551 00:35:49.002 --> 00:35:53.130 then sharply descends at the nasal wing, forming the mouth contour 552 00:35:56.442 --> 00:35:59.403 From the front view, the face appears relatively flat, 553 00:35:59.403 --> 00:36:03.147 but when turned to the side, its outline undergoes significant changes 554 00:36:04.203 --> 00:36:07.977 For instance, the jawline drops considerably 555 00:36:16.898 --> 00:36:19.562 Think about the shape of the lower jawbone 556 00:36:20.258 --> 00:36:24.011 Although the masseter muscle and facial fat influence the contour, 557 00:36:24.011 --> 00:36:30.548 the general jawline follows an upward path towards the ear 558 00:36:33.338 --> 00:36:41.501 As you can see, the jawline does not immediately connect directly to the neck 559 00:36:42.538 --> 00:36:46.192 That's because various muscles exist beneath the lower jawbone 560 00:36:48.898 --> 00:36:53.252 Thus, the jawline extends downward before transitioning into the neck 561 00:36:54.218 --> 00:36:58.068 Meanwhile, the back of the head isn’t a perfect circle It's an asymmetrical ellipse 562 00:37:01.418 --> 00:37:02.395 Like so 563 00:37:06.904 --> 00:37:11.701 Rather than a smooth, round sphere, it protrudes unevenly in some areas 564 00:37:13.177 --> 00:37:14.662 That's how the general shape of the skull works 565 00:37:15.183 --> 00:37:18.938 With that in mind, we now have the side view outline of the head 566 00:37:22.218 --> 00:37:24.293 Now, let's place the eyes, nose, mouth, and ears 567 00:37:25.513 --> 00:37:29.607 When viewed from the side, the eyes appear less prominent than in the front view 568 00:37:29.938 --> 00:37:31.111 They are less visible 569 00:37:31.490 --> 00:37:33.469 So if you feel like they look off, don’t worry 570 00:37:34.043 --> 00:37:37.068 Draw them in a triangular shape that follows the eye contour 571 00:37:38.777 --> 00:37:44.976 Following the eye corner’s natural direction, extend a straight line toward the ear 572 00:37:53.847 --> 00:37:56.810 From the side, when splitting the head down the middle, 573 00:37:57.872 --> 00:38:00.079 the back of the skull is slightly set further back 574 00:38:01.520 --> 00:38:05.124 Thus, the center line should be positioned accordingly, 575 00:38:05.124 --> 00:38:07.540 with the ear drawn slightly toward the rear 576 00:38:10.625 --> 00:38:14.015 Now, as we refine the details, we add the mouth 577 00:38:14.015 --> 00:38:14.990 And this becomes 578 00:38:14.991 --> 00:38:17.065 the classic skull we all know 579 00:38:19.736 --> 00:38:22.892 Now, let's work on the 45-degree angle 580 00:38:23.996 --> 00:38:28.152 In reality, you will likely draw characters in a 45-degree perspective even more often 581 00:38:28.677 --> 00:38:33.313 During dialogue scenes, characters typically interact with each other at this angle 582 00:38:33.776 --> 00:38:37.441 That’s why mastering this perspective is crucial 583 00:38:38.394 --> 00:38:43.242 Rather than just the nose and lips, the contours are influenced more 584 00:38:43.352 --> 00:38:46.663 by the forehead, cheeks, and jawline 585 00:38:48.826 --> 00:38:50.670 Think back to the L-shaped head structure 586 00:38:51.036 --> 00:38:53.576 This is the L shape of the head 587 00:38:56.040 --> 00:38:57.401 Same thing here 588 00:38:59.039 --> 00:39:00.832 The center here 589 00:39:08.169 --> 00:39:10.368 That's how it dents like so 590 00:39:12.089 --> 00:39:15.934 This accurately positions the eyebrow ridge and cheekbones 591 00:39:34.252 --> 00:39:41.880 The volume of the cheek and its projection towards the chin 592 00:39:42.180 --> 00:39:43.620 depends on your stylistic choices 593 00:39:44.909 --> 00:39:46.706 Once it extends downward to meet the jawline, 594 00:39:46.707 --> 00:39:50.061 it smoothly transitions into the lower jaw contour 595 00:39:50.643 --> 00:39:54.146 At this point, add the ear, 596 00:39:57.924 --> 00:39:59.853 sketch the back of the head, 597 00:40:04.248 --> 00:40:07.089 and finally insert the eyes, nose, mouth, and ears 598 00:40:07.326 --> 00:40:08.605 Same thing 599 00:40:08.854 --> 00:40:13.535 Starting from the root of the eyebrow, over the bridge of the nose 600 00:40:13.535 --> 00:40:16.240 Pay attention to this line 601 00:40:19.523 --> 00:40:23.562 Then, following that line, we draw the mouth 602 00:40:29.164 --> 00:40:31.051 The same applies to the opposite angle 603 00:40:32.883 --> 00:40:34.291 Now, look at this angle 604 00:40:34.493 --> 00:40:36.996 From this perspective, the eyes, nose, and mouth are not visible 605 00:40:38.444 --> 00:40:44.886 The facial structure starts from the forehead, dips down at the eyebrows, 606 00:40:44.886 --> 00:40:47.208 then extends to the cheek and jawline 607 00:40:51.963 --> 00:40:54.656 As mentioned earlier, the ear 608 00:40:54.957 --> 00:40:56.404 should not be drawn 609 00:40:58.124 --> 00:41:00.656 the same way it appears from a front-facing perspective 610 00:41:00.933 --> 00:41:02.583 Instead, only the back portion of the ear is visible 611 00:41:10.643 --> 00:41:13.904 Next, give the back of the head a sense of volume 612 00:41:14.856 --> 00:41:18.369 Extend the neck downward with an S-shaped curve 613 00:41:19.764 --> 00:41:22.242 If you feel that the empty eye area looks too plain, 614 00:41:22.242 --> 00:41:25.230 you can add a simple eyebrow to enhance the expression 615 00:41:25.404 --> 00:41:31.714 This is a technique I learned from artist Yang Young-soon 616 00:41:34.244 --> 00:41:35.371 Finally, 617 00:41:37.683 --> 00:41:40.956 the camera is positioned diagonally up and down 618 00:41:42.404 --> 00:41:44.276 These angles evoke feelings of sympathy, 619 00:41:44.276 --> 00:41:47.070 sorrow, intimidation, or confidence 620 00:41:47.563 --> 00:41:49.229 Of course, you can choose to omit such angles 621 00:41:49.379 --> 00:41:51.253 or replace them with alternative scenes 622 00:41:52.244 --> 00:41:55.413 But we can't avoid it just because we can't draw it 623 00:41:56.164 --> 00:41:58.643 We may as well avoid it though we can draw it 624 00:41:59.363 --> 00:42:00.802 So let's give it a try 625 00:42:01.492 --> 00:42:03.877 First, let’s draw a cross guideline 626 00:42:06.244 --> 00:42:08.708 Drawing a cross guideline is a useful habit 627 00:42:10.483 --> 00:42:14.076 It helps maintain the three-dimensionality of the face 628 00:42:14.076 --> 00:42:18.831 by serving as a reference for the positioning of the eyes and nose 629 00:42:19.884 --> 00:42:22.611 As always, when sketching these guidelines, 630 00:42:24.003 --> 00:42:29.421 make sure to consider the curvature of the head 631 00:42:31.056 --> 00:42:33.346 Let's start by looking at this angle 632 00:42:33.798 --> 00:42:36.937 In this angle, the forehead appears most prominent 633 00:42:39.283 --> 00:42:42.037 Let's slightly lower the opacity of the guideline 634 00:42:47.363 --> 00:42:48.164 Let's do this 635 00:42:50.164 --> 00:42:52.443 Since the forehead is emphasized in this perspective, 636 00:42:52.908 --> 00:42:56.337 the brow ridge sharply transitions downward 637 00:42:58.723 --> 00:43:05.621 Think of this line as the division between the first and second floor of the face 638 00:43:06.539 --> 00:43:09.439 The brow ridge becomes distinct enough to create a layered effect 639 00:43:10.923 --> 00:43:13.996 Following this ridge, 640 00:43:14.120 --> 00:43:15.046 the structure bends inward 641 00:43:15.046 --> 00:43:18.065 at the root of the eyebrow, then transitions smoothly into the bridge of the nose 642 00:43:19.283 --> 00:43:20.658 As I keep mentioning, 643 00:43:21.512 --> 00:43:24.803 understanding this fundamental structure 644 00:43:24.803 --> 00:43:28.851 determines whether you can successfully depict a three-dimensional face 645 00:43:29.843 --> 00:43:32.346 So, we proceed by drawing the eyes 646 00:43:33.180 --> 00:43:34.589 The eyes 647 00:43:35.684 --> 00:43:38.835 Since the nose is protruding in this angle, 648 00:43:39.032 --> 00:43:42.453 the mouth will naturally be obscured beneath it 649 00:43:44.563 --> 00:43:48.240 We then define the jawline along the cheekbones, leading down to the chin 650 00:43:52.124 --> 00:43:54.403 Next, add the ear 651 00:43:55.256 --> 00:43:56.473 Since the forehead 652 00:43:56.806 --> 00:44:01.231 that we drew is prominent, 653 00:44:02.483 --> 00:44:05.515 ensure the back of the head extends outward too 654 00:44:06.871 --> 00:44:08.867 Let’s add some details to the ear 655 00:44:12.269 --> 00:44:15.485 Some details to the ear 656 00:44:15.485 --> 00:44:18.169 And refine the lips 657 00:44:18.169 --> 00:44:21.820 That completes this angle 658 00:44:22.564 --> 00:44:23.972 Now, let’s consider the reverse angle 659 00:44:24.640 --> 00:44:27.675 In this case, the eyes are mostly obscured, 660 00:44:28.684 --> 00:44:30.728 but the mouth is much more visible 661 00:44:31.305 --> 00:44:32.562 Same thing here 662 00:44:33.763 --> 00:44:34.865 understand the indentation 663 00:44:38.004 --> 00:44:42.965 from the eye area down to the cheekbone 664 00:44:43.639 --> 00:44:47.386 Use the cross guideline 665 00:44:47.386 --> 00:44:50.410 to think of the face as having two separate planes, the two different floors 666 00:44:52.363 --> 00:44:58.907 At the base of the brow ridge, the structure sharply drops 667 00:44:59.214 --> 00:45:00.186 to the nasal area 668 00:45:01.242 --> 00:45:04.637 This line then extends toward the cheek 669 00:45:05.043 --> 00:45:08.993 The jawline continues downward from there 670 00:45:10.603 --> 00:45:12.257 Let’s also sketch the back of the head 671 00:45:14.203 --> 00:45:15.348 Now, the ear 672 00:45:20.321 --> 00:45:23.767 along the descending curve of the back of the head 673 00:45:24.483 --> 00:45:26.936 The outline of the skull extends downward 674 00:45:28.657 --> 00:45:31.064 Pay close attention to the jawline here 675 00:45:31.203 --> 00:45:36.462 Follow the lower jaw contour carefully 676 00:45:37.804 --> 00:45:40.487 Use the cross guideline 677 00:45:40.487 --> 00:45:44.089 to consider how the eyes maintain their three-dimensional form 678 00:45:47.724 --> 00:45:54.272 Think about how the eyelid covers the round shape 679 00:45:54.643 --> 00:45:57.600 Same with the mouth 680 00:45:57.986 --> 00:46:02.061 Think about how they recede inward in a three-dimensional space 681 00:46:06.883 --> 00:46:13.586 Next, add the details of the ear canal and earlobe 682 00:46:13.586 --> 00:46:16.627 Now, refine the jawline 683 00:46:16.634 --> 00:46:20.180 and add details on the mouth 684 00:46:20.180 --> 00:46:22.886 This completes this angle 685 00:46:23.323 --> 00:46:28.596 We’ve covered everything from facial anatomy to head turnarounds 686 00:46:29.124 --> 00:46:31.222 I initially thought this would be a simple lesson, 687 00:46:31.700 --> 00:46:33.338 but it turned out to be quite extensive 688 00:46:34.724 --> 00:46:37.068 There are still more details I could discuss, 689 00:46:38.585 --> 00:46:40.382 but we’ll wrap it up here for now 690 00:46:42.244 --> 00:46:44.706 The face is, above all, an artist’s signature 691 00:46:45.109 --> 00:46:49.855 While assistants may handle body illustrations, they rarely work on the face 692 00:46:50.524 --> 00:46:53.359 That’s because the face is a defining aspect of an artist’s identity 693 00:46:53.763 --> 00:46:55.441 I’ve discussed a lot of complex concepts, 694 00:46:55.858 --> 00:46:57.428 but don’t feel pressured to remember everything 695 00:46:57.844 --> 00:47:02.095 If even a few ideas from today’s lesson help improve your work, 696 00:47:02.095 --> 00:47:04.291 that’s more than enough 697 00:47:04.883 --> 00:47:06.027 You don’t need to perfect everything all at once, 698 00:47:06.304 --> 00:47:07.549 as long as you continue working on your projects 699 00:47:08.163 --> 00:47:09.741 Great job so far 700 00:47:10.185 --> 00:47:11.953 See you in the next session 701 00:47:12.112 --> 00:47:12.752 Thank you 702 00:47:14.527 --> 00:47:16.268 Understanding Muscles and Tendons Understanding Human Anatomy Muscles and tendons When nerves send signals, muscles contract and move 703 00:47:16.270 --> 00:47:17.789 Tendons help muscles attach to bones Aponeuroses are broad, flat tendons that connect muscles to each other 704 00:47:17.789 --> 00:47:19.232 Muscles can only contract Arms contain both flexor and extensor muscles Those around the ears only allow for contraction 705 00:47:19.232 --> 00:47:20.505 Eyes A major role in a character’s expression Intricate organs that are constantly exposed Eyelids exist to protect them 706 00:47:20.506 --> 00:47:21.506 From the front, it is not flat but gently curved From the side, the tear gland area is mostly hidden 707 00:47:21.507 --> 00:47:22.439 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 708 00:47:22.439 --> 00:47:23.972 Start from the root of the nasal bridge to better align with the eyes 709 00:47:23.972 --> 00:47:25.274 Mouth Soft tissues covering the upper and lower jawbones The upper lip also protrudes more than the lower lip 710 00:47:25.275 --> 00:47:26.820 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? 711 00:47:26.820 --> 00:47:28.983 Ears With curves and folds to transmit the sound Lines representing the auricle and earlobe are needed From above, tilted 15 degrees 712 00:47:28.983 --> 00:47:30.274 Drawing the Entire Face Carve the outline according to the form of the bones and muscles The masseter muscle and fat influence the jawline 713 00:47:30.275 --> 00:47:32.007 Back of the head is an asymmetrical oval Profile views for conversation scenes Outer contour affected by forehead, cheeks, and jawline 714 00:47:32.007 --> 00:47:34.074 S-curve from the back of the head to the nape of the neck Cross guideline to add depth for eyes and nose placement