Mouth Part 2

10 minutes
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Today we're going to do part two of drawing the mouth. I'm going to be doing it in chalk, digital chalk. And I'm using john Vanderpool mouse as reference from his book, The human figure, an awesome book that I had a small copy of 20 years ago, and the reproductions weren't that great. So I couldn't really see what was going on and I assumed he was putting on his chalk in a certain way, and I found out differently recently. But basically, I'm starting with the two cylinder, just basic circle, and then I'm building the lips, the chin and the nose on top of that, as I did in the first video, so check that out. I have my favorite tools here for drawing and pastel and like Blender tools, so have those there so I can get to them.

Pretty easy and they work pretty well. So the processes start on a gray tone or a wash. You can do this with any medium watercolor charcoal oil paint just put a wash down on 50% gray or so just local value and then put your dark shadow shapes on then put your light shapes on and blend your edges. So that's like a standard workflow that works pretty well. That upper lip talking about a bit of the structure has an overlap. As you can see, the wings of the lips overlap the tubercle from the side and that tubercle has that triangular shield shape in the front that gives it the lips top lip, the shape of a cupid's bow and then the bottom lip emerges out from under the top lip. Right.

So again, starting with a simple circle, constructing the upper lip with the seeker tubercle instant lip and then looks kind of like a bow and arrow right on the top. The rhythm of the nose and the chin intrudes upon the rhythm of the mouth. And when I connect the lips to the nose, via philtrum and the rhythm of the chin on the lower part of the lips. It It has a kind of a connected and authentic look, instead of the lips just floating in space by themselves or the nose, or the ears just by itself on a page. It looks a little awkward, it's never looks right. I find that when I connect it to another feature near it, it looks way better.

So again, I put the dark shadow shapes on, you know, I squint down and compare I see my dark shadow shapes or dark puzzle pieces that I moved to the light puzzle pieces. And then I just my edges. The lower lip has a top plane and a front plane and that catches the light usually if the light is coming from the top, so you'll have light On the top part of the lip, then that lip on the top side, that plane turns away so it's dark and the lower lip is light. And then under the lower lip between the chin is dark. So you have a light dark, light, dark, light pattern. Typical from a light source that's overhead.

And when that lights get into the suture part, the tapering part of the upper lip, it gets really dark in there it can be it's like an occlusion shadow light is occluded from getting into there and it just really dark. And then that middle line, dividing both upper and lower lip can be can be dark, but everything else is middle, middle, dark. And light. can even be lips can be wet and glossy so they can have really fine highlighters. specular highlights on both lower and upper lips. And that red portion of the lips, it's a muscle and it's got less the texture to it too.

You can see lots of kind of under undulations of that that muscle surface, which is very interesting indeed. That upper lip has ridges, very crisp Ridge on the top part of the lip. And then as it goes towards the edges towards the masculine node, that edge can be very last edge. very blurry, especially on women. And that that tends to make the lips like they're emerging off of your painting just like beautiful rose petals, you know something to behold. At that phase.

I'm using the blender tutorial tool to smear the edges. And make it all come together. Which adjusting your edges definitely does. So you have a combination of hard and soft edges. And definitely love. I'm kind of a tonal person, I'm not too much of a line person.

So I love drawing this way and I, I love sneaking up on the drawing as if it was being developed in the dark room with film and just watching it emerge off and all the values come into play. It's just amazing stuff. It's always a treat, that magic is always special. And there's a rush from that, that I still get I was mentioning earlier, the reproductions I had of john Vanderpool were pretty low in that small book that I had about 20 years ago. And so I found on the internet's really good reproductions of his stuff, showed me what it was. His technique really was and what he was doing was making small credit cross hatching lines, basically vertical lines with a sharpened pastel or new pastel or even a colored pencil, and they were very meticulous and very poured over So you could see you know, you could see everything but it was the plane very clearly but it was very delicate.

And so I tried to do that here. And I didn't think that was how it was done but it was so great to be able to see good reproductions of art if not be able to see the original artwork itself because it unlocks so many clues for you. With the drawing many times you're it's a push and pull. It's adjusting the drawing, it's re establishing the drawing, it's going over and refining the joints or every thing that you do to the drawing makes your idea more and more clear, more and more realized more and more realistic, if you will, if that's what you're going for. And so you'll go back and forth, reestablishing the drawing where you lost it darkening, Criss spinning up edges, darkening lines. And you'll see me doing that back and forth over and over and that's what it takes to make you know, a drawing really true.

Really come to life and it takes some persistence and patients and but in the end, that didn't illusion of something popping off the page that you created is worth doing it's pretty special. Magic in the last part is a little diagram. That's pretty helpful. It shows the front plane of the mouth, basically from the nose to the chin. So, what you do is you take two straight lines, two diagonal lines, drawing From each nostril, basically from the septum of the nose job straight out at an angle, and it hits the peaks of the upper lips, the peaks of the lower lips, and then it divides the front part of the chin from the side part of the chin. And you can see it there, hitting that the cupid's bow, so it just shows you the what's the true front and front plane of the face or the mouth and then what is not.

And this one is just showing the angle of the lips, upper lip relative to the lower lip and the chin. So that's about it guys. I really hope you enjoyed that as much as I did, and I will see you in the next video.

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