Drawing The Nose With All Of Its Parts

so we got a lovely sarge in here.

We looked at this last week, I believe.

Give a give or take the time.

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

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

We talked about.

And of course all the little features

sit on the bigger landscape

of the of the head.

So let's just do that.

We'll get that step back

as we learn to do with the eyes.

And we'll just do a real simple notation.

Maybe I'll make that a little darker

so you can see it.

And what I'm looking for

is that here's the me.

Make that clear.

There's a beginning of the eyebrow.

Here's the other eyebrow combined with some shadow.

There.

What we want is this area in here,

because that is where the forehead ends

and where the nose begins.

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

the landmark to place your nose.

And it will be in relationship

some way or another.

With the rest of the structure of the head.

So we need this little section in here.

It's a little wedge

shapes like a keystone to an architecture.

So the bridge or something we need that

in here.

Right in here, here and here.

So be precise.

As precise as you can.

I use the eyebrow line.

You can use an eye line as well.

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

And then that's going to in the forehead.

It's giving us the underside of the forehead

in this case where all this beautiful lush shadow sits.

Stepping back so the eyeball can hide

safely away from getting poked, getting whacked,

at least as safe as it can be in

in a challenging world.

And then you can see this little shadow over here

as it trails down in.

It takes off this way and then fades out.

But that's that same transition between high brow

sitting at the underside.

The corner where the forehead steps under.

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

Wherever there.

So beginnings are super important.

We get the eyebrow line and the space

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

That's going to give us the underside

of the eye socket.

And the connecting landmarks.

The beginning of our nose,

a lot of sophisticated things going on there.

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

Out here, off camera.

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

in a way that's sensible, that conveys

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

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

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

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

Maybe.

And then the nose itself is just a wedge.

Maybe it could be all sorts of ideas,

but we want to look for that. So

and then once we establish that

position of the head.

That's the position of the nose to.

So the

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

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

the front of the wedge of the nose.

And whatever this is,

this is doing it as well.

Notice I'm a little off there.

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

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

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

But I'll kind of observe that.

And then I'll look for the bottom

of the nose right here

in the same position.

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

front plane, wherever it is in proportion.

We're not exactly sure.

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

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

because we're underneath it.

So it's foreshortened going back in space.

The full length is vastly shorter in length,

so maybe

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

That's that box logic.

The top of the box.

I can darken it

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

and you might be screaming into the camera, well,

what about linear perspective, the vanishing points?

Absolutely.

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

that's it's maybe Minecraft.

I don't know if they have perspective.

we wouldn't want those parallel.

We'd want them vanishing.

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

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

the proportions and the positions separating the relative

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

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

Here.

A cheek here.

And so on.

And we can map that out.

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

if you want to put them in there, fine.

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

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

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

Nuance structure.

But for now we'll think of it boxy.

Boxy.

And then we get to assign values to all these.

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

Anything that turns gets very dark.

Let's say anything that turns

to the side plane of the head.

Or side plane gets a little darker

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

turns underneath,

gets way darker, and so on.

So then we can assign values

that make sense and give the idea

the beautiful idea, maybe of the illusion

of form when there's no form at all.

Okay, so with that in mind, let's

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

That'll save a little time if I can.

Just get rid of this

since to put it in the wrong spot and.

Okay.

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

the front of the nose.

From the side of the nose.

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

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

That wedge.

From the underside of the nose.

And then I want to make sure the nostrils

sit in the underside of the nose.

Now, there can be all sorts of

variations.

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

That wedge.

Here were slightly

on top of the bottom of the nose.

There that wedge can take on all sorts of different

constructions.

The wedge of the nose, the wedge of the.

Of that landmark between forehead and

bridge.

It bridges the nose.

Can take on all sorts of different,

proportions and positions.

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

and not a very well drawn one,

then each of these parts would vary.

Let's do this and finish this.

Each of these parts would would vary.

So let's vary those a little bit

and make it this nose.

So this part is going to be.

Very long and rather narrow.

And it's just going across

slightly down long and narrow.

Different than that.

Different than that.

It's its own character, its own person.

Personal. Its unique.

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

It has a little bit of a furrowed bump.

There.

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

It's not going straight down.

It's not doing a little wobble.

It's doing this massive hook.

And the bridge is narrower than these.

And if we look at.

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

So we have some frame of reference.

He has this kind of,

old man sadness to him.

So if we just lay that in, like so.

This comes down

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

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

Make sure we're doing okay.

Good.

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

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

get really darker, much darker.

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

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

you know, kind of cheating on the perspective

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

From side to bridge.

From front to side to bridge.

And usually it in this mid area

it fades in rolls in like a rolling hill.

This can be a sharp plateau.

This is a rolling hill.

It's a lovely transition.

So oftentimes this ends up being a soft gradation

back out into light rather than a hard edge.

But in this case this is more bulbous.

You can see kind of the bulbous quality.

So it's pretty sharp here.

And then there's a little bit

of a bevel here.

And then it's kind of bulbous

where it separates here.

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

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

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

And notice that the bridge of the nose, in

whatever incarnation we make it

is separate in in this case

and in.

This case,

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

In this case it's radically separated.

So notice we come down here in this very unique

arc hook.

Down at the bottom of that hook.

Pretty vertical.

And it really going crazy there.

And then we've got this wedge

again wedged

in this ball, this chiseled box.

Whatever it is.

That is.

We use the values to help separate that.

That end is separating out

here.

Let's try the whole thing.

And separate it out literally.

And that is helpful.

To take it out and separate it.

So this is underneath the shadow shape is hitting here.

And this little bevel or back.

Is going in the shadow.

And the whole ball of the nose

underneath is in shadow.

That's going to be important

in a second.

Goes back and then this in here.

This in here.

Chisel.

Chisel.

Chisel.

This.

This.

This.

See how it's kind of boxy?

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

It can be just rounded off.

So it can be a wobbly.

Journey

from here to there.

Anything like that is fine,

but it pulls back, drops down.

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

of this ball and then the ball goes

out wider.

How it wider and back in.

We can see that nicely here.

This is going back in.

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

to attach to the cheeks and mouth area.

Whereas this stuck out.

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

And notice that the

nostrils, as they go back in.

And then root themselves

into that cheek and mouth area.

Separate very strongly.

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

Separate very strongly from

the cheek and mouth.

And specifically that the transition between cheek

and mouth, which is labial,

some something for, I forget labial

something for.

Somebody might drop that into the comments for me.

I'm spacing up.

And then oftentimes we'll add that shadow

underneath because that will show it

separating out

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

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

Here.

And up in here, oftentimes sharp separation.

Sharp separation.

Side plane of the

nose from the cheeks

down in the middle.

Usually a soft transition from nose to cheek.

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

Transition.

And then the nostrils

and the bridge will separate or not use.

They separate some.

Sometimes they don't.

So let's go back over here.

So notice we've got the wedge,

the bridge of the nose with its,

three planes,

front plane, side plane that bevels out wide.

The other side plane,

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

And then we have the whole ball of the nose.

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

And then the wing of the nose

and then underneath the nostril.

A lot of parts.

And then notice how sometimes the parts beautifully.

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

There's a little separation

on the contour of the ball of the nose.

Number five from the bridge of the nose.

Number two.

Here's the far side.

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

If that's helping or not.

And then watch the shadow shape.

It's separating the front plane

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

And then the bottom plane.

But it's separating and giving us a boxy

bottom. Of.

A bottom to that wedge.

Of the nose.

Nostril separates.

Eye socket and upper cheek

separates from the side of the nose.

Side of the nose in the middle.

Usually makes a lovely lazy transition over.

Should be up.

So a lot of different things.

This might separate from all of this.

This might separate from all of that.

This starts at all a lot of stuff.

Take it one step at a time.

Don't start this complicated.

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

And then if we can see the nostrils,

sometimes we can and sometimes we can't.

But if we can see the nostril and choose

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

Dramatic pause.

I want the nostril to be down inside.

That bottom plane.

Of the wedge.

Tucks under.

There's some thickness here.

Bottom.

Notice that I'm creating a shadow.

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

But that's quite all right.

Again, little cast shadow.

Even if it's down in that

philtrum area.

But we're separating

all these major planes.

We can choose to radically separate each part

or ever so subtly separate each part

or not separate them at all.

Give or take the character.

Give or take. Our esthetic decisions.

But that's what we're after.

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

Almost done, but got a few minutes.

But even if we look at, artwork

that's not direct light.

Okay.

find what I marked off here.

Here's a piece that I advertise today.

Show for.

Even if it's, softer values,

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

Now, if we spent, lots

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

There's all sorts of stuff going on there.

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

So my nose looks a little different.

Some people's noses are

battered.

Some or whatever.

we could deal with all those differences.

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

But what we can do to try and get this,

not to fall off.

I need a third hand.

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

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

And after all that work.

This is Nikolai Fetch.

And, of course, John Singer.

Sergeant was our last one.

So even here, let's do this

other one.

I had.

Let's do this one.

Take it right back over.

Okay, so notice how.

We're getting the nose coming forward.

And we're feeling that wing going back.

Where?

Going back up. We could see the other side.

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

We're way on top of.

We feel that nose.

Wedge.

And we'll look at, perspective ideas,

next week.

But notice how it angles back.

Getting wider for those wings

and receding back to attach to the cheeks.

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

Now she has this beautiful rounded

quality to the wedge.

It's not boxy at all.

It's not doing that.

It's the wings of the nose.

And the swelling of that wedge is much more rounded.

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

And notice that the

nostrils right here.

The,

Wedge of the nose

is right in here.

She has this serious

expression for that lovely brow.

All this stuff is in here.

And notice this is this.

This really beautiful roll.

There.

So this would come back

in this direction.

And come back in this direction

to roll off her cheekbones.

Like so.

So even with a few marks,

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

The transition back.

Of the ball.

The nose to the wing.

The nostril, if I can see it.

And look at what he did.

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

He put a little tone.

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

the thick line

of the nostril.

So there's a thick line in the nostril,

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

And then under.

Step down and under.

So a little tone, even subtly little tone here.

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

A little tone here.

And this is all.

Dropping back.

But bump here

bump here.

All those little tones a little tone here with a

subtly sharper separation.

But not as sharp and stark as the nostril.

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

Other side, I should say. There.

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

Like so.

So notice, even when it's really delicately

and you don't get much more delicate

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

Except maybe Holbein portraits.

Who had a huge influence on fetch.

And of course.

There is that sharper transition

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

Right in here.

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

But,

it's gone this way. So.

So really nuanced.

And yet it's still giving us.

That structure.

So whether the tone is stark.

Or delicate?

Subtle. Nuanced,

we still need to feel all of this

box logic, the wedge of the nose.

And here.

In the forehead begins

the transition down.

The front plane,

the side planes, the wings and the ball

in. And.

Separating to some little degree,

even if it's just in contour,

has to happen.

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

gets completely lost with or sharply separates,

sharply separates.

we need to be aware of that.

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

I don't need that. Maybe.

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

fade that out and not, not make it,

finish out or be is

is, stark.

And you'll quite oftentimes see some tone,

some cast shadow under the nose

to suggest that it's.

Cast shadows are wonderful

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

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

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

Okay. So I think we'll stop there.

I hope that helps.

It's fun stuff.

So whether you're rendering subtly or starkly,

think simple.

yep. Fetching are amazing.

Think simple and clear.

Think of the structure,

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

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

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

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

And so on.

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

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

You drew.

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

let's see.

Addie asked how much attention needs to be spent

on sharply defining the nostril.

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

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

You gotta make those shadows really dark.

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

If anybody tells you in art, there's

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

there are almost certainly wrong.

They may not be wrong for you.

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

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

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

Do I like a more boxy,

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

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

Just test it and play with it.

And whatever you decide, you will change your eye

to see more precisely why I like the old way.

I didn't even have to do that.

But by doing that test,

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

So, then it might have given you a clear

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

And that's super valuable.