How To Draw Heads And Faces Workshop: Drawing Unique Character Heads, Facial Features & Hair Styles

Hey it's Clayton here from howtodrawcomics.net and bartonbrushstudios.com, and in this tutorial I'm going to show you how to draw your own unique character head by adjusting the proportions and the shape of your character's face. Placing on their facial features adjusting them to create some variety and then, of course, styling the character's hairdo. In order to come up with something memorable, I'm going to take you through the entire process, step by step, starting with the foundations going through the process of actually constructing the head adjusting the proportions in order to come up with a unique head representation and then, finally, Polishing that drawing into something that's presentable, something that looks finished, that you can show off to your friends or on social media and look. If you get some value out of this tutorial, then I highly recommend that you check out my full class on drawing unique character. Heads which is available on both how to draw comics.net and skillshare I've got links to both in the description below, but without further Ado, get your pencil and sketchbooks ready or your favorite digital drawing application, and let's jump straight into this okay. So we'll start out with our cranium shape, which is just a circle which we're going to convert into a sphere with a few guidelines. In just a moment, the heads that we will draw up today for these examples are just going to be placed on the three-quarter angle, so nothing too Dynamic, but they're not going to be flat. You know front side on views either we'll place in the axes. Then we'll draw in the horizontal line that runs around the belly of the sphere and ultimately represents the brow line, and then we'll lay in the middle of the face. Okay, which tells us what direction the head is looking in and essentially just shows us where the front of the face will be situated next up, we'll place in the side plane. Now here's where we can start to begin messing around with how this General head shape is going to appear. We can either take off a little bit or we can take off a lot of the side of the head plane. Let'S go ahead and try to take off just a little bit. Okay, so usually I would I'd push this out just a little further toward the the center line, I'm going to make sure that Center Line is still placed in the middle of the face. So if I need to readjust it I'll do that now you this is going to affect the whether or not the head is narrow or whether or not it's going to be wider than usual a little bit. What will increase and push that effect even further is the length of the face. So is it going to be a long face, or is it going to be a short face now before when we were doing the idealized head, we would measure out the first top top two thirds of the face by drawing a line from one side to the Other at the top of the temporal flattened out area as the sides of the skull to the other, and that would give us the first two thirds and then we would just measure down one more third and we would have the standard measurements of the face here. We'Re going to change things up, we might in in fact this time around uh we'll draw it down a little longer than we have been so we'll draw it all the way down here now you can push this to an extreme. You can make it a subtle change, uh. It depends on how realistic, really you want your head to look. If you want to stylize it create a caricature of whoever it is you're, drawing whatever character it is. You might be representing on the page, then you know really push that length. You know, pull it right down next up another area where we can really adjust how the shape of the face is going to appear on the page is by going ahead and um. You know either well adjusting the shape of the jawline, so we could make it more triangular. We could make it more square, and in this case I think what I'll do is is create a bit more of a rectangular jawline. Okay, so I'm actually going to pull the corners of the jaw all the way down, so he's going to have this particular character, which I'm going to make a male character will have a fairly um. You know Square rectangular jawline, because I've pulled those Corners so far down. We can adjust the broadness of the chin. Okay, so again think about these areas as dials. You know you can dial the the width a wide. Certain areas are going to be. You can drag certain portions of the face down further than others. You can pull them up. It'S you know we're elastifying the face here, essentially pulling and pushing it into the shape that we want for the given character that we've decided to draw now. This might look a bit funny. It might look a little bit odd and that's because we are, we are traveling outside and away from those idealized measurements, all right cool. So now that we've got the shape of the jaw defined and you can choose whatever shape you would like for your own head now, you don't necessarily have to copy what I've got here. We can now figure out where the facial features are going to go and how large they are going to be and again, there's a few adjustment knobs that we can turn here in order to achieve the effects that we're looking for now, where the eye is going To sit on the head well, usually, they would sit right in the middle of the overall length of the face. In this case we can sit them either lower or we can set them higher. What I'm going to do is I'm actually going to place the eyes on this head down quite low, going to place them about well, actually, no, what I'll do is I'll place them a little bit higher, because if this was more of an idealized measurement as to Where I was going to figure out how to place the eyes, I would probably place them here, because that would be about the Midway point of the overall head, but instead of doing that I'll place them a little bit well I'll place them a little bit higher. Just underneath the brow line that I've already established so now, we've got a large amount of space for the bottom portion of the face where the nose and the mouth will reside and a smaller amount of space at the top of the head. So you know, you've got a very, I guess you could say a character that looks like this is a bit more bone-headed. Looking in appearance um, you know kind of like Frankenstein almost you could. You could think of this as so. What I'll do is is figure out so I've got the eyes now. Please next up I'll, get the nose drawn in there. So is the nose going to be close to the eyes, or is it going to be situated further down? Well, you know what I think. I'M going to place it all the way up here: okay, just underneath the eyes so again funny proportions, but it should lead to a very interesting and memorable result for this character and as for the mouth, I'm going to place that all the way down here and The chin will place that down there. Now you could place your mouth and your nose anywhere along this distance between the eye line and the chin that you would like it really doesn't matter. Whatever is going to capture the character that you are looking to represent on the page, we'll place in the ears now we can give this character little ears or we could give this character big ears. Can we we know what the regular rules are at this point? Now we're bending them and it can feel a bit funny to break the rules so to speak after we spent so long learning them and keeping them in check, but uh. This is a wonderful exercise, and it's only once we have learned the proper rules that we are able to properly manipulate them next up I'll draw in this character's neck. I just feel like this is a thick neck kind of character, so I'm going to give him a thick neck and now placing the head planes so we'll have the division that separates the front of the face from the sides of the face on either side. Here then, the plane divisions around the side of the brow. Now, let's define the hairline okay. Now, what I'll do is I'll give this character? What'S called a Widow's PK line? Okay, so it's going to come down to a point in the middle and then back up. There'S lots of different hairlines out there that you can look up. But you know the most common ones that you're going to see are the receding, hairline, of course, which some of us are already acquainted with, and the The Widow's PK line and then just the one that runs straight from one side of the head to the other. There'S a few of a few different ones that beta away from the regulars, but you know you could really modify that hairline to make it whatever you want it to look like Okay cool, so next, let's actually draw in the facial features. Now the first question we have to ask ourselves: if we're starting with the eyes is how big are the eyes going to be and where are they going to be placed? Will they be small and placed far apart, or will they be large and placed close together right? We can really have some fun with this. I am going to go for some small eyes that are placed a little more toward the middle of the head and, of course we can mess around with the eye shapes as well so um. I want this guy to look kind of intimidating he's going to have a bit of a glare about him, so I'm gon na make the top of the eyes quite straight and I'm going to narrow them out as well, so they're very small eyes and and as I said they're placed right at the front of the face, which has this kind of um. You know predator-like Vibe about it, because you know you think about a lion, for example, or a tiger. You know these these animals that are predators that hunt other animals down and their eyes are always placed at the front of their face and they're they're, quite small as well so um, that's the kind of vibe that we're going for here. That'S what we're able to incorporate and that's the association that hopefully people will make to the character as well um now what we'll do is go ahead and add in some eyebrows which are going to sit right on top of his eyes here and I'm going to Make them really thick too, if you're doing your own head um. That you know is something different to this. You know try to get inventive with it get creative. You know. Maybe you do sin eyebrows. That'S sit really high up on the forehead. That'S totally something that you could go with, of course, use your eye to judge whether or not something is going to look good, because, though we can bend these rules, they can ultimately break if we bend them too much in the wrong direction. Okay! Wonderful! Now! Let'S go ahead and draw in the nose so we'll start with the bottom of the nose and we'll make this nose quite wide again just to really push that that bonehead appearance that caveman appearance that we're going for. We can have the nostrils going upward on an upward angle. We could have them going on a downward angle. Basically, every single aspect of the facial shape and features and measurements can be uh tweaked in order to ultimately end up at a at a varied result. To what you'd otherwise have, if you were just going with the standard measurements for the human head next we'll go and place in the mouth. So we'll start out with the opening for that, beginning with the middle and then pulling the mouse opening all the way out, and you know what will give him a quite a large Mouse. So now what he'll end up with is this this monkey like appearance? I would say is a black appearance, we'll give him a big bottom lip, which is already kind of written within the construction that we laid down to begin with, because the fact that we we laid in his chin so far down below the opening of the mouth. Now, of course, we've got the ears too so we'll draw those in. You can see that I'm working very very lightly here so uh. It might be a little bit difficult to see what I'm doing, but this is really the the way in which you want to work. You don't want to be using a super dark and heavy line, that's hard to erase that's hard to recorrect and tweak. If you decide that you want to change things later on, so what I'll do now is, I will refine what I've placed down here on the page before going through and establishing a hairstyle for this character. So we'll start out with the eyes going over the top of what I've already done here, just with a darker outline and refining, essentially what's already there on the page. So this is the easy part believe it or not. You know adding in those details polishing up the primary Contours. That'S that's when everything really when the road map should be laid out - and you know exactly where this this piece is going to be going. You really don't want too much to be left up to chance at this point. So the idea with any illustration whether it be a drawing of a head or a full character or a full cover or pinup right, is that you want to make sure that you've planned it all out. First, once it's planned, then it's very very easy to go over the top of that and lay on the icing on top right. So it's about you know, making sure that that cake is is nicely baked, and then you know once that's once you know that's good to go. Well, you can then polish. It up place the icing on top place, the cherry or the decoration and whatnot place in his Iris and his pupil and we'll do that in both eyes. Next, we'll outline the eyebrows going over the top of them, defining that line with additional clarity, and what I'm looking for is nice smooth, well-weighted lines in the final drawing okay. So I want these lines to no longer be sketchy, and I don't want them to necessarily be light either. I want them to be nice and Vivid, I think polished is the best term, but we're essentially cleaning up what we had initially on the page and we're turning it into a finished drawing every now and then I might hit the undo button or if I'm doing This traditionally go ahead and get out my Eraser if things, if there's a certain portion of the drawing, that's not necessarily going the way that I want it to go and and I'll make whatever changes are needed. So you saw on those eyebrows there that I kind of wanted to to fix them up a little bit nope. What is that all right? So we'll do the same thing with the opposite: eyebrow again, outlining it first and then placing in the the I guess the the textural rendering to describe it as having here now we'll add in some additional details around the eyes just to describe some of the forms. Such as the eye socket and the folds underneath the bottom eyelid, and all that does, is just describe some of the anatomy around that area subtly, but just enough to to give it that that extra visual interest in realism. It takes it from looking like a just a cartoon and actually, you know, pushes a more complex, looking comic art style while still maintaining you know something that looks like a piece of comic book art I mean it looks stylized and graphic in nature. Okay, so we've got the eyes drawn in there now, let's place in the nose and and before I actually draw in the nose. What I'm going to do is I'll start off by erasing some of these construction lines because they're getting in the way a little bit, and we don't. We really don't need them anymore. At this point, they were really well. They were only there so that we knew where to place the facial features. Now that we've got those facial features placed uh. We can just do some erasing now, I'm going to place in some folds and wrinkles around the brow, and you know these folds and wrinkles are caused by the muscles underneath the face that contract and contort in order to express certain emotions visually within the facial expressions. The head is capable of and over time, if there's you know, for example, a person who is typically very Smiley who Smiles all the time they will develop, wrinkles and Folds in the areas of their face that use the muscles to actually allow them to smile. If there's someone who glares all the time, you know they're working walking around angry and whatnot uh, then again they will develop the same lines and folds in their face that they use in order to allow them to express those particular facial expressions. Okay, so I'm going to lay in a shape for the nose bridge now keep in mind, there's a number of different shapes that you can use for the nose, especially the bridge. So if I go over here and I draw the nose from the side well, you've got this kind of beak nose that you can use for the nose this this beak-like shape. I guess it's kind. I guess this would be more of a big shape, wouldn't it so yeah you can play around with these experiment and and see what you can come up with it'll. It uses the same bits and pieces. You can have a nose that is pointed upward, where you're going to see more of that Underside plane, at least from the front and have all different sorts of noses. Variety of noises that you could have is endless. I'Ve decided on this particular nose shape for the character that I'm drawing here, at least in the nostril. Even on our idealized heads, we still had nostrils and whatnot. It'S just that now, they're depicted differently in order to create the variations that we're seeing in this gentleman's face, and I draw in some wrinkles around the sides of his nose he's an angry dude and - and I really want that to to come across in this character. We can add in little bits of rendering to his face if we, if we really want to polish this up and and make it more complete, we'll leave it at that. For now, though, I'm going for more of a stylized looking here in these particular head examples. Next up or Define the opening of his mouth, drawing that in place in a darker heavier line just underneath his bottom lip we'll even outline and suggest the the shape of the bottom lip at the sides there and now we'll go ahead and place in some light. Rendering just underneath the bottom lip to describe that Underside plane the space between the bottom lip and the top of the chin. Finally, in the nostril opening, all I will do to prepare that and fill it in is draw this little comma type shape underneath the nostril opening fill it in okay, wonderful! So I'm going to do some more erasing here, getting rid of those construction lines and I'll start to Define some of the underlying facial Anatomy, suggesting where the cheek of Bones might reside and the mouse muzzle as well. I'Ll start off by lightly sketching those in and then once I I think, I'm happy with what I'd like to capture there. What I want to go for I'll use a darker outline to essentially set it in stone. You can see I'm doubling up some of these lines, just to add that little tiny bit more depth to the Contour drawing and that's all you need. Sometimes you don't need heavy rendering in order to give your artwork depth to suggest form. It'S funny coming from me because I do have a style which is much more detailed than this, but I do really pack on the rendering. But again, it's it's not always that necessary, and sometimes it can it can take away from from the drawing it can steal away the the attention from certain other aspects of it. Okay, next up we'll draw in the chin and for this character I'm going to give him a bit of a bum chin. Yes, you can have different shapes of chin as well believe it or not, we'll put a little dimple just in the base there. All right. That'S looking pretty good, we'll lay a little indentation in around the corners of the mouse, push them back and just create a little pocket within the anatomy there curve in the underside of the route brow back in toward the eye on the far side of the face, Then pull out the cheekbone to describe the shape of the face as it turns away from us, so we're getting a good look at the outline of the front of the face here on this angle in this portion now a lot of the decisions I'm making here Are instinctual over time you'll develop your own way of creating decisions and making them in order to arrive at the idealized representation of whatever head it is. You would like to draw, and by idealizing that context I just mean what you desire to see within your head when you've drawn it, I'm going to add in a few more facial folds in around the the nose I'll draw those out, especially around the mouth, because The mouth and the eyes they're both facial features that have a wide capability of expression because of that wide capability of expression, you'll find that a lot of the folds in the face reside within and around those facial features at the forehead. Obviously, we know that that can really you know, fold up and create lines across the top there. So that's another area of the head that moves around a lot that the forehead is somewhat connected to the eyes. In other words, when the eyebrows raise those folds within the forehead are going to begin to form. We'Ll add in that little dimple that little indentation, just above the top lip and now we'll complete his jawline, run a dark Contour down the sides. And then, here I'm going to just I'm going to shave off the sharp corner that I added in there right at the edge and adjust the shape and I'll take the bottom edge of the jaw and Lead it into the chin. Next I'll Define the side, jaw muscle sits the back of the jaw. It'S a very powerful muscle gives the jaw a lot of its power and, again how much you define the anatomy of your character's face is completely up to you and the requirements of that character. For example, we're going to do up a female head in just a little bit and she will not have anywhere near the level of defining features and Anatomy, as this particular character does I'd. Add in some shading just on the underside of this top lip there to show you that, yes, indeed, it is facing away from the light source and now as for the ears, let's do something interesting with these ears. Let'S add in uh, like a piercing, I'm not quite sure what you, what you call these particular earrings, but I've seen them before they sit inside the earlobe and and stretch it out quite a lot actually, and so this is a great way to to customize the Shape of the ear, while also adding a facial accessory to it, so go ahead and place that in there and now we'll attend to the top of the ear beginning it. The final outline for its shape and we'll lead that down into the base of the year, which will travel around this, this earring that we've placed down you can see quite a significant customization of the ears General overall shape, but just as before, the next step that We'Re going to take is place in the interior frame of the outer ear, and then the y-shaped piece of cartilage will draw in, and so you know remember that as much as we following a structure for the face, that structure can be stretched as the ears indicate Here you know the shape of the ear has literally being stretched out in order to create a new representation for it. Finally, We'll add in the neck that drawn in and will indicate some of the muscles, especially those large band-like muscles that run down from behind the ear and into the center of the collarbone. They are usually quite prominent and will be visible on the surface of the skin. We could also add in the Adam's apple, a male character here, Believe It or Not. Women actually have an Adam's apple as well. It'S just not as pronounced or is visible as it is on a man that women share the same Anatomy for the most part, in fact, on the as far as the human face is concerned: okay, well, that's fantastic! So now that we've got our face defined and figured out it's time to give our character a hairstyle, so this is something that we haven't touched on a whole lot and what I'm going to do now is explain my approach to it. So the first thing I like to do is figure out what what kind of style am I going to go with for this character's hair and then the next step after that is to well, let's just go ahead and uh and I'll actually show you so sometimes I you know, sometimes I don't exactly know what style I want the characters how to go in and I'll just start drawing it out like this and I'll I'll see what happens and and what I do is I'll start laying in large clumps of hair. But I want a general idea to go to go with here, so that I've I can follow a particular direction, so this guy will be a gangster of some kind uh, which means I'm thinking that he's going to have slightly longer hair on top and maybe shorter Hair around the sides, and so with that said, I'm going to begin drawing out the larger portions of this hairstyle that Define its overall shape and then the strategy from that point onward will be to divide those larger shapes up into smaller shapes. More and more until we get a a certain amount of texture or an organic appeal to the hair that we're drawing down onto this character's head. So you can see here that I'm keeping it very light and very wispy very free-flowing, I'm just I'm lightly, drawing it in there and unless you see this actually happening it can be. You know everybody who teaches this stuff tends to say you know if you read it in books, knocking out the overall shape of the hairstyle first, that can be hard to interpret sometimes at least I've found it hard to interpret anyway. So I need to see it done, and so this is the way in which I came up with for actually laying, in the general shape of my character, character's overall hairstyle, I somewhat mix in some textual qualities to it. In other words, I try to suggest that it's already hair, as I'm laying in that basic overall shape and I think about how the hair might fold on itself. So it's in a sense. It'S almost like fabric, it folds on itself it it has layers to it and it it is at the whim of the outside elements. So you know if your character is standing in the wind or they're standing in the rain. That'S going to change how the hair is represented, even if it's, if it's got a certain shape to it or a certain style to it. Okay, so got his hair drawn out very roughly the general overall shape of it, but then, of course, it's shorter around the sides, and so the way in which I'm going to represent that is, I'm just going to have it combed back or appearing as though it's Combed back now, of course, you could have it completely shaved in different different people and interpret a shaved head in different ways. You know so it could. You know, be prickly like this. If you wanted to go for it, you know I found that you know. Gangsters tend to use a lot of grease in their hair, what a moose and they they kind of slick it back. I'M a big fan of gangster movies. Actually, maybe that's why I thought of this character. Today'S demonstration, I didn't, have any idea that I was going to come up with this character. Actually, I just started tweaking the proportions and the character came about, and maybe you'll find that that's the the same case for you as well, and sometimes the things that you draw, they uh you just come up with them on a whim and all of a sudden. It can really, you know, take its own it can. It can end up taking on its own life, I'm actually going to tweak the trajectory of some of these uh the side, hair texture, because I didn't quite like the way in which it was flowing. It seemed a little bit too straight. It wasn't really wrapping around the curved surface of the side of the head again. The way that I wanted it to so in this case the hair, because it's sitting so close to the head and it's combed right up against it - it will describe its shape just a little bit all right, but where do we take the hair from here? Well, we can actually start to divide it up now, so we're going essentially what we've established is the overall shape of the hairstyle and the direction in which it's going to flow, so all the lines that we add in now to increase the detail to break it Up are going to follow that same flow, we're going to follow what we've already laid down, we're taking those larger clumps of hair and now we're just breaking them up and we're breaking them up in much the same way, we would break up the eyebrow hair Okay, So, As We Lay in these Contours, we're going to have some of them sitting very close together, others that are sitting very uh far apart. That'S what's going to give the hair that we're drawing for our heads that organic visual representation, because hair is very organic in nature. It'S somewhat randomized and you'll notice that these lines are very long and very elegant, so you do need somewhat of a steady hand in order to lay them in delicately really focus on the thickness of the line that you're laying down. You can see that I'm keeping mine quite thin and in fact the only thick lines that I ever lay down onto the page, is for the outline of the character all the lines on the interior of the drawing. Unless it's a, you know a main section like the underside of the cheekbones, for example, I usually use a thicker line, but other than that, I usually try to. You know keep especially the minor lines like the folds in the face and whatnot I and these divisions in the hair. I try to keep them thin and subtle, because I don't want them drawing too much attention to themselves. There'S a hierarchy or visual interpretation that needs to be cultivated when it comes to your drawings, in other words, there's certain areas within the drawing that you want the viewer to pay attention to. First and usually those areas are going to be the ones with thick outlines placed around them. So the eyes, for example, have thick eye outlines around them and that's where the viewer's attention will go first, most of the time for a number of other reasons too. But uh, that's definitely one of them, you know, and so you don't want the viewer to be honing in, for example, on the individual separations within the hair. You want them to be more focused on the general hairstyle as a whole right, and so you outline the general hairstyle as a whole with a thicker outline, but then, in order for that visual interpretation to unfold in the correct way, you keep the interior hair details. Less obvious, less prominent the subtle align work, so I'm going around this entire hair shape and I'm just I'm dividing it up, while at the same time defining its ship, it's uh its overall Style on the bottom of the hair. We might give it a slightly thicker outline just to show that it is raised up over the head, because in in most situations, there's going to be a bit of a car shadow created by the hair down onto the forehead. And that just gives it that little bit more elevation a little bit more volume, I'm going to be thinking thinking about what kind of hair your character has as well. We have some very slick back straight sharp, looking hair here, but maybe your character has curly hair. You know and we'll do an example of curly hair in just a bit, but it's certainly something to keep in mind. As I said, there's there's variations to almost everything that we're learning about. Throughout this Workshop, everything can be shifted. Everything can change and you'll notice that it's actually okay to change the rules up. It'S not like anything bad necessarily happens, but, as I've said before many times over, you've got to know what the rules are in order to shift them properly without creating fundamental errors. Within your illustrations, so, in other words, proportions that look off now, even though these aren't the idealized proportions. There'S still some proportions which have been applied to this character's head that, if maintained and kept consistent, kept symmetraized properly, will ultimately achieve and give us the ability to be able to represent this character's head from one panel to the next. In whatever comic we might draw them in and have the viewer recognize them as being the same character? So, in other words, if you're able to keep in mind what the proportions were, that you changed for your character's head in comparison to the idealized measurements that we initially came up with, then you you should be able to draw that same character from a multitude of Different angles and still have them, look like the same character all right, so it all comes down to the proportions of the character that you've chosen to go for and how you've adjusted them. If you remember how you would you adjusted them, what you modified from the initial idealized head in order to come up with your new unique head, uh, then that'll be the key to making your characters. Look the same from one panel to the next. I get that question a lot you know you have to also remember, though, that people can look very, very different in the profile view when compared to the front view they're two extremely different angles, and so in that case, what will allow you to draw the assumption That you're, looking at the same character in those dramatically different angles, is things like hair color things like design elements that you might have incorporated into the face of the character or even into their overall outfit and then once you've drawn that character in the front view. Once once you've drawn that character in the side view once then you want to make sure that the next time around the next time you draw them in those views that once again that consistency is there okay, so I'm going to go around and add in the Final hair for the sides of the head still might divide that up a little bit more again, I'm trying to give the hair some movement some liveliness to it. You can see, especially here around the sides of the head, I'm using this. It'S called the line of beauty, it's a wavy uh s-like curve, which seems to have an appealing energy to it. When you incorporate it into your drawings, and this same shape can be applied to the overall pose of your character. It can be applied to design elements that you've incorporated into them. They can be really applied to many many different aspects of your drawing, including the overall composition. It'S it's a very natural movement for the hand to make, and I guess the reason that it's got so much energy to it is because it's it's moving the entire way through there's no point at which it straightens out it's a line that encompasses movement. It'S curving in a different direction: the entire way along its trajectory; okay, so that actually completes this first head example that we've drawn up here we'll go around the far side of his forehead and just to find the outline for it before we wrap it up. But once more, what I would like to do before we call this 100 done is just to show you a variety of different facial features and whatnot, as we did with the noses that you could potentially go with for these head. Customizations we've got the jawline here, and the jawline could either be triangular like, so it could be extremely triangular, depending on how far you would like to push it. You have a very tiny little chin, very, very sharp chin. You could have a square jawline, a very broad chin. You'D have a square jawline with very narrow chin. You could have a long jawline or you could have a very squashed and uh short jawline as for eyes. Well, you could have round eyes with like bags underneath them. If you wanted to, you could have very narrow eyes, pretty intimidating, looking eyes like this, you could have sad looking eyes or you could also call laziness and eyes. I guess, and you could have. I guess you know similar to sad eyes, but more like an old person's eyes, like a elderly person, where the top of the eye is actually hanging over the opening. Quite a lot. Something like this. I would also work - and you know, there's a lot of different eyes that you could come up with here. There'S an endless amount, an endless variety of them um different types of ears - oh yeah for sure. So you could have Oriental eyes. So something that looks a little bit more like this uh. This is again everybody's going to have their own interpretation but um. This is how I would draw them. It'S subtle, um. The thing about Oriental eyes is um you're, not always going to necessarily want to, at least in terms of idealization uh. You don't necessarily want to Define that top eyelid, the crease and the top eyelid too much, because most typically, what you'll find is that it's not as uh prominent and um, and also the Oriental eye is a typically quite dark as well so um. You may want to go ahead and add in some additional shading to them as well. Then you know you might have an eyebrow up here off, so you know again and you've got different types of mouths, so you could have a puckered mouth. A mouth that sits higher but is is smaller in width to something like this, where the top lip is. Maybe a little larger than the bottom lip you'd have a mouse, that's very broad, but still sits a little higher, and I find that this. This can be quite cool, for you know, characters or kind of grimacing, and maybe they might have a larger bottom lip. You can even mess around with this bottom Underside muscle around the base of the muzzle the mouse. That'S you know kind of curled up at the sides, and these almost look just like facial expressions and sometimes the the lines can be blurred a little bit. But you know you've likely seen people in real life that have some of these variations incorporated into them. You know where you might just know someone whose mouth curls up at the sides, it almost looks like they've, got a little smirk going on most of the time. Um yeah, so there's there's lots of different types of faces that you can go for. You can customize each and every single part of them and uh. You know even the chin right like you could have a broad separation separated chin like this could have a skinny one like this. Okay, you could have square smooth, one E1, Etc so get inventive with it see what you can come up with and try to create heads that sometimes maybe not always, but sometimes travel outside of that idealized model that we so commonly see within comic books. Hey thanks for watching. I hope that you enjoyed this tutorial and that you got a ton of value out of it and if you did and you'd like to delve deeper into the topic, then I highly suggest you check out the full class that this lesson is. A part of I've got links to it in the description below it is available on both how to draw Comics dot, net and skillshare, and what it's going to show. You is even more examples of how to add variety to the Head, shape, facial features and hairstyles of your characters, we'll even talk about adding head accessories and makeup to make them even more memorable all right. Well, that's it from me today until next time keep drawing