Drawing The Nose With All Of Its Parts

STEVE HUSTON Draws from life
29 Apr 202436:55

Summary

TLDR本视频脚本详细讲解了如何绘制鼻子的结构和阴影,强调了在绘画过程中对鼻子各个部分的观察和表现的重要性。视频中提到,鼻子不仅是脸部的一个重要组成部分,而且它的不同部分如鼻梁、鼻翼和鼻孔等,都有其独特的形态和特征。讲师通过比喻和实际示范,指导观众如何通过简单的几何形状(如楔形和盒子)来构建鼻子的基本结构,并强调了在绘制时要注意光影效果以及鼻子与脸部其他部分的关联。此外,还讨论了个体差异对鼻子外观的影响,并鼓励观众根据自己的艺术风格和审美偏好进行创造性的探索和实验。

Takeaways

  • 🎨 **理解鼻子结构**:在绘制鼻子前,要理解其基本部分和特征,它们是如何在头部更大的结构中相互关联的。
  • 🔍 **观察眉毛与鼻子的关系**:眉毛的开始部分与鼻子的起始点密切相关,这是定位鼻子的基础。
  • 📐 **使用几何形状简化**:将鼻子视为一个楔形或盒子,有助于简化复杂的结构,使其更容易绘制。
  • 👀 **注意眼睛与鼻子的关系**:眼睛的后退有助于保护眼球,同时影响鼻子底部的位置。
  • 🌗 **考虑透视缩短**:在绘制时,要注意由于透视缩短,眼窝下方的部分可能比想象中更短。
  • 🖌️ **线性透视与简化**:在绘制非真实盒子的情况下,可以简化透视,使线条平行而不是收敛。
  • 🌑 **阴影与体积**:通过给结构的底部和侧面分配较暗的色调,可以创造出体积感和形式的错觉。
  • 🔄 **细节的可变性**:鼻子的各个部分,如鼻梁、鼻翼和鼻孔,都有不同的构建方式,可以根据需要进行变化。
  • ✂️ **编辑和省略**:在绘制过程中,可以根据需要编辑或省略某些部分,以达到艺术效果。
  • 🧐 **观察和实验**:观察不同的鼻子特征,并通过实验不同的绘制方法来提高观察力和绘画技巧。
  • 📈 **分离和过渡**:注意鼻子与脸颊、额头和其他面部特征之间的分离和过渡,这有助于创造出更立体和真实的效果。
  • 🎭 **艺术表现的灵活性**:艺术创作中没有固定的规则,可以根据个人喜好和风格来决定鼻子的绘制方式。

Q & A

  • 在绘制鼻子时,为什么要特别注意眉骨和额头之间的区域?

    -眉骨和额头之间的区域是确定鼻子位置的关键。这个区域是额头的结束和鼻子开始的地方,可以作为放置鼻子的基础或锚点,并且这个位置会与头部的其他结构有所关联。

  • 为什么在绘制鼻子时使用简单的标记而不是详细绘制?

    -使用简单的标记可以帮助艺术家避免感到不知所措,并且能够更好地捕捉和传达鼻子的基本结构和形状,而不是陷入复杂的细节之中。

  • 在绘制鼻子时,如何利用眉线来帮助定位?

    -眉线可以用来确定鼻子的位置。艺术家可以使用眉线作为一个参考点,来找到鼻子的起始位置,并确保鼻子与额头的底部结构相匹配。

  • 在绘制鼻子时,为什么要考虑鼻子与脸颊和嘴巴区域的连接?

    -鼻子与脸颊和嘴巴区域的连接对于表现面部的三维形态至关重要。这种连接有助于展示鼻子底部的宽度,以及鼻子如何向后延伸并与脸部的其他部分相接。

  • 为什么在绘制鼻子时要特别注意鼻孔的位置和形状?

    -鼻孔的位置和形状对于表现鼻子的立体感和真实感非常重要。它们位于鼻子的底部,并且通常与脸颊和嘴巴区域有明显的分离,这有助于增强鼻子的体积感。

  • 在绘制鼻子时,如何处理鼻子的阴影和高光?

    -阴影和高光可以用来表现鼻子的体积和形态。通过给鼻子的不同部分分配不同的明暗值,可以创造出鼻子的立体效果,即使实际上并没有明确的形体。

  • 在绘制具有不同特征的鼻子时,如何保持每个鼻子的独特性?

    -每个鼻子都有其独特的特征,如长度、宽度、弯曲度等。在绘制时,可以通过变化这些特征来保持每个鼻子的独特性,同时确保鼻子的各个部分如鼻梁、鼻翼和鼻孔等都有所区分。

  • 为什么在绘制肖像时,鼻子的结构需要特别注意?

    -鼻子位于面部的中心位置,对于表现面部的深度和立体感至关重要。通过精确地绘制鼻子的结构,可以增强肖像的真实感和三维效果。

  • 在绘制鼻子时,如何处理鼻子的透视问题?

    -在绘制鼻子时,需要考虑到鼻子的各个部分如何随透视变化而变化。例如,鼻子的宽度、鼻梁的倾斜度以及鼻翼的可见性等,都需要根据观察者的视角进行适当的调整。

  • 在绘制肖像时,如何处理鼻子与其他面部特征的关系?

    -鼻子需要与眼睛、额头、脸颊和嘴巴等其他面部特征协调一致。在绘制时,要确保鼻子的位置、大小和角度与其他特征相匹配,以保持面部的整体平衡和比例。

  • 在绘制鼻子时,为什么要考虑到鼻子的各个部分可能的独立性?

    -考虑到鼻子的各个部分可能的独立性可以帮助艺术家更好地捕捉鼻子的独特结构和形态。每个部分,如鼻梁、鼻翼和鼻孔,都可以根据个体差异和艺术表现的需要进行单独的强调或淡化。

  • 在绘制肖像时,如何处理鼻子的阴影以增强立体感?

    -通过在鼻子的底部和侧面添加阴影,可以增强鼻子的立体感。阴影的运用可以模拟光线如何在鼻子的不同表面上反射和吸收,从而创造出更加真实的视觉效果。

Outlines

00:00

🎨 头部结构与鼻子定位基础

本段介绍了如何通过观察头部的基本结构和特征来定位鼻子的位置。强调了额头末端与鼻子开始处的关键区域,以及如何利用眉毛线作为参考来精确放置鼻子。同时,提到了鼻子的形状像一个楔子,是头部结构的重要组成部分。

05:01

🖌️ 鼻子的形态与阴影处理

这一段讲解了如何在已经确定鼻子位置的基础上,进一步细化鼻子的形态。讨论了鼻子的前端、底部以及鼻孔的相对位置,并且指出了鼻子的有机形态可能导致的不对称性。还涉及了如何通过阴影和色调来赋予鼻子立体感。

10:02

🔍 鼻子的不同构造与个性化特征

在这一段中,讲解了鼻子的不同部分,如鼻梁和鼻尖,以及它们如何变化来形成独特的鼻子外观。强调了鼻子的个性化特征,如长度、宽度和弯曲度,以及如何在鼻子的各个部分之间创造清晰的分离或者柔和的过渡。

15:06

🌒 鼻子的光影效果与立体感

本段重点讨论了如何通过阴影和光线效果来增强鼻子的立体感。讲解了鼻子底部、鼻翼以及鼻子与脸颊之间阴影的重要性,以及如何利用阴影来表现鼻子的体积和结构。

20:07

🖋️ 精细描绘与艺术表现

这一段通过对比不同的鼻子构造,展示了如何在细节上进行精细描绘。讨论了鼻子的各个部分,如鼻翼、鼻梁和鼻尖,以及它们如何影响整体的面部表情。同时,提到了艺术家如何根据自己的风格和审美来调整鼻子的细节。

25:09

🎭 鼻子在不同角度和光线下的表现

本段讲解了鼻子在不同角度和光线条件下的变化,以及如何在艺术作品中捕捉这些细微的变化。强调了观察鼻子在不同视角下的形态变化,并且如何通过艺术手法来表现这些变化。

30:11

👃 鼻子绘制的艺术处理与创意自由

最后一段讨论了在绘制鼻子时艺术处理的自由度。强调了艺术创作中没有固定的规则,鼓励尝试不同的方法来找到最适合自己的风格。提到了如何处理鼻翼的细节,以及如何根据个人喜好来决定鼻子的清晰度和立体感。

Mindmap

Keywords

💡鼻部结构

鼻部结构是视频中讨论的核心主题,指的是鼻子的各个组成部分,如鼻梁、鼻尖、鼻翼等。视频中强调了理解和描绘鼻部结构对于捕捉面部特征的重要性。例如,提到了鼻部结构的“楔形”特征,以及如何通过光影和线条来表现鼻子的立体感。

💡光影处理

光影处理是指在绘画或素描中通过明暗对比来表现物体的体积和空间关系。视频中提到了如何通过阴影和高光来增强鼻子的三维效果,例如在鼻翼下方添加阴影,以及在鼻梁上使用色调来表现其结构。

💡比例和位置

比例和位置是绘画中用来确保物体间关系正确的关键要素。视频中讨论了鼻子在脸部的比例和位置,强调了通过与眼睛、额头等其他面部特征的关系来定位鼻子的重要性。

💡透视

透视是绘画中表现物体在空间中相对位置和大小变化的技术。虽然视频中提到了透视,但也指出在绘制鼻子时,不需要过于担心严格的透视规则,而是更注重表现鼻子的结构和特征。

💡体积感

体积感是指在二维平面上表现三维物体的立体感。视频通过讨论鼻子的“楔形”和“球形”特征,展示了如何通过线条和阴影来营造鼻子的体积感。

💡特征个性化

特征个性化是指在绘画中捕捉和表现个体独特的面部特征。视频中提到,每个鼻子都有其独特的形状和结构,如“长而窄”或“宽而圆”,艺术家应该捕捉这些细节来表现个体差异。

💡线条和标记

线条和标记是绘画中用来定义形状和结构的基本元素。视频示范了如何使用简单的线条来勾勒鼻子的基本形状,然后再添加细节和阴影来完成整体的描绘。

💡结构简化

结构简化是指在绘画过程中将复杂的结构分解为简单的几何形状,以便于理解和表现。视频中提到了将鼻子视为一个“楔形”结构,并用“盒子逻辑”来简化和构建鼻子的各个部分。

💡观察与实践

观察与实践是艺术创作中不可或缺的环节,通过观察现实世界中的物体和面部特征,然后在作品中实践所观察到的细节。视频中鼓励艺术家观察真实的鼻子结构,并在作品中尝试不同的描绘方法。

💡艺术表现

艺术表现涉及艺术家如何通过自己的风格和技巧来传达情感和视觉效果。视频强调了艺术表现的主观性,提到了艺术家可以根据个人喜好和作品的整体风格来决定鼻子的描绘方式。

💡细节编辑

细节编辑是指在创作过程中对作品的各个部分进行选择性的强调或省略。视频提到了艺术家可以根据需要选择性地表现鼻子的某些特征,如鼻翼的分离或鼻梁的尖锐度,以达到预期的艺术效果。

Highlights

在绘制鼻子时,首先要确定的是额头的结束和鼻子的开始,这是放置鼻子的基础。

使用眉毛线作为参考,可以帮助我们找到鼻子的位置。

鼻子的形状可以像一个楔子,有助于我们理解鼻子的结构。

在绘制时,要注意鼻子的底部和前部的相对位置,以及它们的比例。

鼻子的绘制可以通过简单的几何形状来简化,比如将其视为一个盒子的一部分。

在绘制鼻子时,要考虑光线和阴影对鼻子形状的影响。

鼻子的每个部分,如鼻梁、鼻翼和鼻孔,都有其独特的结构和特征。

在绘制过程中,要注意鼻子与脸颊和嘴巴区域的分离。

鼻子的底部和鼻翼的底部通常会处于阴影中,这有助于表现鼻子的立体感。

在绘制鼻子时,可以通过强调鼻子的各个平面来增强其体积感。

鼻子的形状和特征可以根据个体差异进行变化,没有统一的规则。

在绘制时,可以通过改变鼻子的某些部分来赋予其独特的个性。

在绘制鼻子时,要注意鼻子与面部其他部分的过渡,这可以是柔和的也可以是明显的。

在绘制鼻子的过程中,可以使用不同的色调来表现鼻子的立体感。

在完成鼻子的绘制后,可以通过添加阴影和高光来增强其真实感。

在艺术创作中,没有绝对的正确或错误,重要的是找到适合自己的表达方式。

通过实验不同的绘制方法,可以更深入地理解鼻子的结构,并找到最适合自己的风格。

Transcripts

00:18

so we got a lovely sarge in here.

00:20

We looked at this last week, I believe.

00:23

Give a give or take the time.

00:24

We'll look at some of fetch in or two as well.

00:29

So when we do the nose we have those basic parts.

00:34

We talked about.

00:41

And of course all the little features

00:43

sit on the bigger landscape

00:46

of the of the head.

00:48

So let's just do that.

00:52

We'll get that step back

00:53

as we learn to do with the eyes.

00:58

And we'll just do a real simple notation.

01:06

Maybe I'll make that a little darker

01:07

so you can see it.

01:11

And what I'm looking for

01:12

is that here's the me.

01:18

Make that clear.

01:20

There's a beginning of the eyebrow.

01:24

Here's the other eyebrow combined with some shadow.

01:28

There.

01:31

What we want is this area in here,

01:35

because that is where the forehead ends

01:40

and where the nose begins.

01:42

That's going to be the foundation, the the anchor,

01:46

the landmark to place your nose.

01:51

And it will be in relationship

01:55

some way or another.

02:02

With the rest of the structure of the head.

02:04

So we need this little section in here.

02:09

It's a little wedge

02:10

shapes like a keystone to an architecture.

02:14

So the bridge or something we need that

02:18

in here.

02:21

Right in here, here and here.

02:24

So be precise.

02:27

As precise as you can.

02:28

I use the eyebrow line.

02:30

You can use an eye line as well.

02:33

I use both, but we want that eyebrow line to find the nose.

02:37

And then that's going to in the forehead.

02:40

It's giving us the underside of the forehead

02:44

in this case where all this beautiful lush shadow sits.

02:53

Stepping back so the eyeball can hide

02:56

safely away from getting poked, getting whacked,

03:01

at least as safe as it can be in

03:04

in a challenging world.

03:07

And then you can see this little shadow over here

03:10

as it trails down in.

03:13

It takes off this way and then fades out.

03:15

But that's that same transition between high brow

03:20

sitting at the underside.

03:29

The corner where the forehead steps under.

03:33

It's a little under a little on the front.

03:36

Wherever there.

03:39

So beginnings are super important.

03:43

We get the eyebrow line and the space

03:47

between the eyebrows based on the center line of the whole head.

03:52

That's going to give us the underside

03:55

of the eye socket.

03:58

And the connecting landmarks.

04:03

The beginning of our nose,

04:07

a lot of sophisticated things going on there.

04:10

So it takes time to learn to see that, see it out in the real world.

04:15

Out here, off camera.

04:18

Luckily we got it on camera and then getting it down onto the page

04:24

in a way that's sensible, that conveys

04:29

and doing it in a way where we don't feel overwhelmed.

04:32

So instead of really drawing the nose, we'll draw simple ideas.

04:37

A keystone to begin the nose off a box of a forehead.

04:41

Maybe the transitions into this egg of a skull or the skull cap.

04:47

Maybe.

04:48

And then the nose itself is just a wedge.

04:51

Maybe it could be all sorts of ideas,

04:55

but we want to look for that. So

04:58

and then once we establish that

05:00

position of the head.

05:04

That's the position of the nose to.

05:10

So the

05:11

now I've got I'm going to give this a little bit of a tone here.

05:16

You can see it now I've got the front plane,

05:20

the front of the wedge of the nose.

05:26

And whatever this is,

05:29

this is doing it as well.

05:31

Notice I'm a little off there.

05:33

That could be the because it's a organic form.

05:36

It's slightly asymmetrical or it could be because I screwed it up.

05:40

Could be a screw up that's critical or a screw up that doesn't matter.

05:43

But I'll kind of observe that.

05:45

And then I'll look for the bottom

05:48

of the nose right here

05:52

in the same position.

05:54

And that bottom of the nose is just the bottom of this

05:57

front plane, wherever it is in proportion.

06:01

We're not exactly sure.

06:02

Probably we'd want a little bit more of the eye socket feeling this.

06:08

Probably it's a little shorter than we think it is

06:11

because we're underneath it.

06:12

So it's foreshortened going back in space.

06:16

The full length is vastly shorter in length,

06:23

so maybe

06:24

make it a little shorter than I think, but still at that same angle.

06:27

That's that box logic.

06:29

The top of the box.

06:31

I can darken it

06:33

sits at the same angle as the bottom of the box,

06:38

and you might be screaming into the camera, well,

06:41

what about linear perspective, the vanishing points?

06:44

Absolutely.

06:45

If we actually did this for a boxy town we were trying to build,

06:51

that's it's maybe Minecraft.

06:52

I don't know if they have perspective.

06:55

we wouldn't want those parallel.

06:57

We'd want them vanishing.

06:58

We don't need to worry about that because we're not drawing true boxes.

07:01

We're just using the box as a way of placing

07:06

the proportions and the positions separating the relative

07:10

front of that structure, whatever it is, from the side

07:13

and the side from the next front, not the cheek.

07:17

Here.

07:20

A cheek here.

07:24

And so on.

07:25

And we can map that out.

07:27

So I don't need to worry about the vantage point

07:30

if you want to put them in there, fine.

07:32

But we don't need to. We can just make them.

07:33

Parallel is good enough because this is going to get rounded off.

07:36

It's going to end up being a a very subtle.

07:42

Nuance structure.

07:47

But for now we'll think of it boxy.

07:52

Boxy.

07:53

And then we get to assign values to all these.

07:57

The anything that's on the bottom of the box gets darker.

08:01

Anything that turns gets very dark.

08:04

Let's say anything that turns

08:08

to the side plane of the head.

08:14

Or side plane gets a little darker

08:17

if it turns way to the side, then starts turning to the back, it gets way darker,

08:22

turns underneath,

08:23

gets way darker, and so on.

08:28

So then we can assign values

08:31

that make sense and give the idea

08:35

the beautiful idea, maybe of the illusion

08:41

of form when there's no form at all.

08:44

Okay, so with that in mind, let's

08:46

see if I can erase this, because it's kind of a Prismacolor thing.

08:49

That'll save a little time if I can.

08:58

Just get rid of this

08:59

since to put it in the wrong spot and.

09:05

Okay.

09:06

So what I want to do then is make sure I separate

09:10

the front of the nose.

09:14

From the side of the nose.

09:15

And if I could see it, both sides of the nose.

09:20

And then the front of the nose and the side of the nose.

09:23

That wedge.

09:26

From the underside of the nose.

09:30

And then I want to make sure the nostrils

09:33

sit in the underside of the nose.

09:36

Now, there can be all sorts of

09:40

variations.

09:41

And what we'll find when we start looking more carefully.

09:45

That wedge.

09:51

Here were slightly

09:53

on top of the bottom of the nose.

09:57

There that wedge can take on all sorts of different

10:01

constructions.

10:05

The wedge of the nose, the wedge of the.

10:12

Of that landmark between forehead and

10:17

bridge.

10:17

It bridges the nose.

10:23

Can take on all sorts of different,

10:25

proportions and positions.

10:28

So if we were to draw a not so much a generic nose

10:31

and not a very well drawn one,

10:34

then each of these parts would vary.

10:37

Let's do this and finish this.

10:45

Each of these parts would would vary.

10:47

So let's vary those a little bit

10:51

and make it this nose.

10:52

So this part is going to be.

10:58

Very long and rather narrow.

11:01

And it's just going across

11:04

slightly down long and narrow.

11:06

Different than that.

11:07

Different than that.

11:09

It's its own character, its own person.

11:12

Personal. Its unique.

11:14

Nothing's exactly like it in the whole history of noses.

11:19

It has a little bit of a furrowed bump.

11:21

There.

11:22

I could even put that in to make it more unique.

11:25

It's not going straight down.

11:27

It's not doing a little wobble.

11:28

It's doing this massive hook.

11:36

And the bridge is narrower than these.

11:43

And if we look at.

12:05

If we look at these structures here let's do that.

12:08

So we have some frame of reference.

12:12

He has this kind of,

12:15

old man sadness to him.

12:36

So if we just lay that in, like so.

12:47

This comes down

12:49

and we'll notice that the front plane needs to be separated from the side plane

12:54

to feel that structure, that volume, that box logic.

12:59

Make sure we're doing okay.

13:01

Good.

13:02

And then as we get into rendering, we can assign values to those things.

13:06

Side planes get a little darker on deep sides, and undersides

13:10

get really darker, much darker.

13:20

And then as we go down, we'll notice that the bridge of the nose

13:23

and the whole wedge of the nose, it's in here,

13:28

you know, kind of cheating on the perspective

13:30

can do all sorts of things just in as travel down.

13:35

From side to bridge.

13:40

From front to side to bridge.

13:45

And usually it in this mid area

13:48

it fades in rolls in like a rolling hill.

13:52

This can be a sharp plateau.

13:54

This is a rolling hill.

13:59

It's a lovely transition.

14:00

So oftentimes this ends up being a soft gradation

14:04

back out into light rather than a hard edge.

14:08

But in this case this is more bulbous.

14:10

You can see kind of the bulbous quality.

14:16

So it's pretty sharp here.

14:20

And then there's a little bit

14:21

of a bevel here.

14:25

And then it's kind of bulbous

14:27

where it separates here.

14:32

So a little bit of a bump come off the ski hill.

14:35

You do a little drop that by your you a little bit before you go on

14:39

to the straight smooth shoot down to the ski lodge or something.

14:46

And notice that the bridge of the nose, in

14:50

whatever incarnation we make it

14:54

is separate in in this case

14:59

and in.

15:06

This case,

15:07

as we'll find from the tip, the ball of the nose.

15:10

In this case it's radically separated.

15:13

So notice we come down here in this very unique

15:17

arc hook.

15:20

Down at the bottom of that hook.

15:24

Pretty vertical.

15:25

And it really going crazy there.

15:29

And then we've got this wedge

15:33

again wedged

15:34

in this ball, this chiseled box.

15:37

Whatever it is.

15:45

That is.

15:47

We use the values to help separate that.

15:58

That end is separating out

16:02

here.

16:02

Let's try the whole thing.

16:11

And separate it out literally.

16:15

And that is helpful.

16:20

To take it out and separate it.

16:22

So this is underneath the shadow shape is hitting here.

16:26

And this little bevel or back.

16:31

Is going in the shadow.

16:34

And the whole ball of the nose

16:36

underneath is in shadow.

16:40

That's going to be important

16:42

in a second.

16:44

Goes back and then this in here.

16:57

This in here.

17:10

Chisel.

17:16

Chisel.

17:24

Chisel.

17:30

This.

17:31

This.

17:31

This.

17:37

See how it's kind of boxy?

17:40

Any version of that, it can be really carefully chiseled.

17:44

It can be just rounded off.

17:46

So it can be a wobbly.

17:49

Journey

17:51

from here to there.

17:55

Anything like that is fine,

17:58

but it pulls back, drops down.

18:01

And so it's really important that we get some underside

18:06

of this ball and then the ball goes

18:10

out wider.

18:16

How it wider and back in.

18:19

We can see that nicely here.

18:21

This is going back in.

18:23

It's not only getting wider it's going back

18:26

to attach to the cheeks and mouth area.

18:28

Whereas this stuck out.

18:30

Of course I'm exaggerating this like crazy, but sticking out there.

18:36

And notice that the

18:37

nostrils, as they go back in.

18:45

And then root themselves

18:48

into that cheek and mouth area.

18:55

Separate very strongly.

18:57

Almost always is no always in life, but almost always.

19:04

Separate very strongly from

19:08

the cheek and mouth.

19:10

And specifically that the transition between cheek

19:13

and mouth, which is labial,

19:18

some something for, I forget labial

19:21

something for.

19:24

Somebody might drop that into the comments for me.

19:28

I'm spacing up.

19:30

And then oftentimes we'll add that shadow

19:32

underneath because that will show it

19:35

separating out

19:38

those cast shadows that separate out give a good illusion to it.

19:42

But notice the transition is sharp separation from the rest of the face.

19:47

Here.

19:54

And up in here, oftentimes sharp separation.

19:59

Sharp separation.

20:04

Side plane of the

20:06

nose from the cheeks

20:10

down in the middle.

20:11

Usually a soft transition from nose to cheek.

20:14

Here we have a little bump at the end, but still relatively softer.

20:18

Transition.

20:23

And then the nostrils

20:25

and the bridge will separate or not use.

20:28

They separate some.

20:31

Sometimes they don't.

20:35

So let's go back over here.

20:43

So notice we've got the wedge,

20:47

the bridge of the nose with its,

20:50

three planes,

20:53

front plane, side plane that bevels out wide.

20:57

The other side plane,

20:58

which we can't see over here, but it would be the fourth plane.

21:02

And then we have the whole ball of the nose.

21:04

We'll just call that one big thing, but it has its volume.

21:09

And then the wing of the nose

21:13

and then underneath the nostril.

21:21

A lot of parts.

21:22

And then notice how sometimes the parts beautifully.

21:26

Let's do a little, a little bit here.

21:30

There's a little separation

21:32

on the contour of the ball of the nose.

21:37

Number five from the bridge of the nose.

21:39

Number two.

21:41

Here's the far side.

21:42

In this case, the number three is over on the other side is number one.

21:47

If that's helping or not.

21:50

And then watch the shadow shape.

21:53

It's separating the front plane

21:55

from the bottom plane or the front plane from the corner plane.

21:59

And then the bottom plane.

22:01

But it's separating and giving us a boxy

22:04

bottom. Of.

22:15

A bottom to that wedge.

22:20

Of the nose.

22:21

Nostril separates.

22:23

Eye socket and upper cheek

22:28

separates from the side of the nose.

22:30

Side of the nose in the middle.

22:32

Usually makes a lovely lazy transition over.

22:38

Should be up.

22:41

So a lot of different things.

22:42

This might separate from all of this.

22:48

This might separate from all of that.

22:55

This starts at all a lot of stuff.

22:58

Take it one step at a time.

23:00

Don't start this complicated.

23:02

Goes simpler, but I just wanted to show you all of the the structure.

23:08

And then if we can see the nostrils,

23:11

sometimes we can and sometimes we can't.

23:14

But if we can see the nostril and choose

23:18

to draw it there, we didn't choose to draw it.

23:24

Dramatic pause.

23:27

I want the nostril to be down inside.

23:36

That bottom plane.

23:40

Of the wedge.

23:51

Tucks under.

23:52

There's some thickness here.

23:59

Bottom.

24:00

Notice that I'm creating a shadow.

24:03

And now I'm varying from the the source material in terms of likeness.

24:08

But that's quite all right.

24:13

Again, little cast shadow.

24:15

Even if it's down in that

24:18

philtrum area.

24:25

But we're separating

24:28

all these major planes.

24:29

We can choose to radically separate each part

24:33

or ever so subtly separate each part

24:37

or not separate them at all.

24:41

Give or take the character.

24:43

Give or take. Our esthetic decisions.

24:46

But that's what we're after.

24:47

And if we look at even let me see how we're doing on time.

24:50

Almost done, but got a few minutes.

24:53

But even if we look at, artwork

24:57

that's not direct light.

25:01

Okay.

25:01

find what I marked off here.

25:08

Here's a piece that I advertise today.

25:10

Show for.

25:26

Even if it's, softer values,

25:31

we're going to want to get a bottom plane and the nostrils underneath.

25:35

Now, if we spent, lots

25:38

and lots of time, we could deal with racial differences, age differences.

25:42

There's all sorts of stuff going on there.

25:44

I got a broken nose of broken a couple times boxing.

25:47

So my nose looks a little different.

25:49

Some people's noses are

25:52

battered.

25:52

Some or whatever.

25:55

we could deal with all those differences.

25:57

We're not going to have time to do that, of course.

26:00

But what we can do to try and get this,

26:03

not to fall off.

26:13

I need a third hand.

26:14

And when you guys give me a third hand, here we go.

26:22

What I want to do is look at this and model.

26:25

And after all that work.

26:32

This is Nikolai Fetch.

26:33

And, of course, John Singer.

26:34

Sergeant was our last one.

26:39

So even here, let's do this

26:43

other one.

26:43

I had.

26:48

Let's do this one.

26:53

Take it right back over.

26:59

Okay, so notice how.

27:08

We're getting the nose coming forward.

27:16

And we're feeling that wing going back.

27:24

Where?

27:24

Going back up. We could see the other side.

27:26

It would go back if we looked down at a, Had that.

27:31

We're way on top of.

27:49

We feel that nose.

27:53

Wedge.

27:58

And we'll look at, perspective ideas,

28:04

next week.

28:05

But notice how it angles back.

28:11

Getting wider for those wings

28:14

and receding back to attach to the cheeks.

28:18

So we have to really watch that angle change and check it out.

28:23

Now she has this beautiful rounded

28:27

quality to the wedge.

28:29

It's not boxy at all.

28:32

It's not doing that.

28:33

It's the wings of the nose.

28:36

And the swelling of that wedge is much more rounded.

28:41

Not as radically as the older gentleman we just did, but rounded.

28:47

And notice that the

28:50

nostrils right here.

28:57

The,

29:00

Wedge of the nose

29:04

is right in here.

29:05

She has this serious

29:09

expression for that lovely brow.

29:30

All this stuff is in here.

29:38

And notice this is this.

29:41

This really beautiful roll.

29:44

There.

29:51

So this would come back

29:54

in this direction.

29:58

And come back in this direction

30:00

to roll off her cheekbones.

30:08

Like so.

30:10

So even with a few marks,

30:12

I want to feel the width of the ball of the nose.

30:16

The transition back.

30:21

Of the ball.

30:22

The nose to the wing.

30:24

The nostril, if I can see it.

30:26

And look at what he did.

30:27

If you can see on camera, I'll do it here.

30:30

He put a little tone.

30:31

I'm going to make it a much darker tone, a little tone on top of

30:37

the thick line

30:40

of the nostril.

30:42

So there's a thick line in the nostril,

30:44

but he put a tone on top of that so we could feel that step down.

30:49

And then under.

30:53

Step down and under.

30:55

So a little tone, even subtly little tone here.

31:00

And there's a highlight that we can't capture on white paper.

31:03

A little tone here.

31:07

And this is all.

31:11

Dropping back.

31:15

But bump here

31:18

bump here.

31:20

All those little tones a little tone here with a

31:24

subtly sharper separation.

31:31

But not as sharp and stark as the nostril.

31:36

And then there's a little bit of the underside.

31:39

Other side, I should say. There.

31:40

I've made it kind of fat, having a little trimming off a little bit.

31:46

Like so.

31:52

So notice, even when it's really delicately

31:56

and you don't get much more delicate

31:57

than these fetching portraits, it's why we all love them so much.

32:01

Except maybe Holbein portraits.

32:03

Who had a huge influence on fetch.

32:06

And of course.

32:15

There is that sharper transition

32:16

of the inner cheek after the finish of the eye socket.

32:21

Right in here.

32:24

Separating out and breaking into two is so you can see it.

32:28

But,

32:30

it's gone this way. So.

32:40

So really nuanced.

32:44

And yet it's still giving us.

32:51

That structure.

32:53

So whether the tone is stark.

32:57

Or delicate?

32:59

Subtle. Nuanced,

33:01

we still need to feel all of this

33:03

box logic, the wedge of the nose.

33:07

And here.

33:09

In the forehead begins

33:13

the transition down.

33:18

The front plane,

33:20

the side planes, the wings and the ball

33:25

in. And.

33:28

Separating to some little degree,

33:30

even if it's just in contour,

33:34

has to happen.

33:36

Understanding all of that and then how it's it smoothly transitions

33:41

gets completely lost with or sharply separates,

33:46

sharply separates.

33:48

we need to be aware of that.

33:50

And then we can edit out, take away any of these things.

33:53

I don't need that. Maybe.

33:55

So I'll just let that gets lost. There.

34:02

fade that out and not, not make it,

34:07

finish out or be is

34:11

is, stark.

34:18

And you'll quite oftentimes see some tone,

34:21

some cast shadow under the nose

34:25

to suggest that it's.

34:29

Cast shadows are wonderful

34:31

when they separate from the source that cast them, because then it

34:36

that separation gives us a feeling that it's displaced.

34:39

So it must be in front or lifted or whatever is going on there.

34:44

Okay. So I think we'll stop there.

34:47

I hope that helps.

34:49

It's fun stuff.

34:50

So whether you're rendering subtly or starkly,

34:54

think simple.

34:57

yep. Fetching are amazing.

34:59

Think simple and clear.

35:02

Think of the structure,

35:04

and then each component of that structure can be possibly edited out.

35:08

Maybe we don't need both sides of the wedge.

35:12

Maybe we don't need to separate the nostrils from the tip.

35:15

We can just have them slowly roll back to the cheeks.

35:18

And so on.

35:20

But look at each part, and each part can have its own character

35:23

that's distinct and different from, each other or from the last nose.

35:29

You drew.

35:30

Okay, so I think well, thanks, Kevin, I appreciate that.

35:34

let's see.

35:36

Addie asked how much attention needs to be spent

35:39

on sharply defining the nostril.

35:42

as much as you want all that kind of stuff tested.

35:46

So anytime somebody tells you, you got to really define it.

35:50

You gotta make those shadows really dark.

35:52

You have to build that ribcage just as an egg and nothing else.

35:56

If anybody tells you in art, there's

35:58

or in life, really, there's only one way to do it.

36:02

there are almost certainly wrong.

36:04

They may not be wrong for you.

36:05

It might be really good advice to do it that way.

36:08

but there's always a creative way to do it differently,

36:12

so test it out is what I say, you know, try it out.

36:15

Do I like a more boxy,

36:18

version of a nose, or do I like it kind of melting into the face

36:23

even though it's supposed to pop out from the face?

36:25

Just test it and play with it.

36:27

And whatever you decide, you will change your eye

36:29

to see more precisely why I like the old way.

36:32

I didn't even have to do that.

36:33

But by doing that test,

36:34

trying that different possibility of not making it sharp as a nostril.

36:39

So, then it might have given you a clear

36:42

understanding of just how right the old process was for you.

36:46

And that's super valuable.

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