Alright, let's do the nose and three quarter. Again, I'm going to start with the vine charcoal, which is really soft and really easy to erase. I'm just going to go ahead thinking like a sculpting drawer, I'm going to plan out my plane changes and the boundaries between light and dark. As I mentioned in the anatomy tutorial, the nose is two parts, cartilage and fatty tissue in one part, bone. Now, this method really emphasizes the structure, because the structure is really the hardest thing to maintain throughout the drawing. So I'm stating it clearly at the very beginning, and that way I'll be able most likely to Keep that clear, simple statement all the way through the drawing.
If I go ahead and put the foundation in now, it's like putting the foundation of a house in, then putting the plumbing, right and then putting, you know all that all that structure in there that makes the house stand up. If you didn't put it in the house would blow over in any gust of wind. All right, then I just established reestablished those marks that I made with a charcoal pencil so that they won't just be wiped away. And now I'm going to give it a tone that I could sort of draw out of or paint out of, so that my nose emerges off the page from the from the fog, so and then Go ahead and fill in my darks just to see if my design looks good. And to separate out the family of darks from the family of lights, still keeping things flat and 2d, right, keep it flat, don't go all the way black.
Save that for your black accent and then just check it out and see if the proportions are good. And then I'm going back to my vine charcoal to do to fill in those blacks. Again, it's easy to erase out of those with the bind charcoal, and then I'll use my finger to smudge things to get edge control between hard and soft edges. And then I'll go back and forth between a charcoal pencil and fine charcoal and divine charcoal with the charcoal compressed is an awesome combination. So now I'm just going ahead and Getting that side plane of the nose that's there in the lights really so in the lights and putting another tone down a half tone, just before it goes into a core shadow. And so now I have three values light, middle and dark.
Right so my kept my shadows shapes very flat and then starting to turn the form in the lights, just putting that half tone, the modeling tone and getting this thing to turn a little bit. And with the charcoal pencil, I can crosshatch and just again keep the structural ideas going otherwise it's too easy for it to turn into smudging and smudging turns into smearing and then smearing looks like dirt and mud and The drawing overall looks messy and dirty. So if I've got my structure there, I'll know where to shade and where to smudge and just holds it up much better. There's that route of the nose where the bone is kind of a bony landmarks for the nose. And then you've got this ball, the nose of the dome of the nose that's often divided. In the Caucasian nose, I put a little hint of that.
And that charcoal pencil sharpened up allows me for real subtle transitions through cross hatching very lightly in building it up. Then I use the tortilla Leone to flatten out any areas that look a little noisy and a little too much contrast with light and dark. Just to flatten things out in the light side. You can take charcoal off with an eraser but also the tortilla Leone can remove loose charcoal and create nice subtle effects and a lot less destructive than an eraser. Okay in the darks now after introducing a one step, darker tone and that starts to develop, define for me the reflected light in the dark shadow side, right, so, I've got the nose hole, the shadow under the septum, and you can see now the bounce, light, reflected light emerge. You don't need a lot going on in there, right?
It's the shadows. So keep it subtle. Don't confuse your values by letting the stuff in the darks get to light and the stuff in the lights get too dark. Because then you'll get mad again. That's a value thing if you know your values and can control them, you know, likely you're gonna have a good outcome and that's why I developed the drawing the way I do step by step because it allows me to control each stage and that is what I need control. Okay, torta Leonsis gets a real subtle tease subtleties in there plus my cheap eraser or paintbrush with his finger and then just lightening up the area next to the ball the nose so that it pops out a little bit and then going for the Crimson cram the highlight.
That's the icing on the cake. That's the funnest part. And it really starts to complete the drawing the illusion starts to emerge and all that hard work is for not for not, it's for something and that's good. get smaller eraser, just to be find the highlight. And now I'm just gonna work around and look for edges, hard and soft. refine the forms.
Try to bring this thing home. noses aren't too easy, you know, they're kind of they're not the funnest thing to do. So I suppose People don't study the nose or gravitate to the nose first. But it's definitely important as I mentioned, so the process is sculpt out the planes fail in InDesign, your dark shadow shapes, put half tones in the light and then put a step darker in the, in the shadows. So first, everything's flattened 2d, and then you start to sculpt it out with introducing the halftone in the lights, and the darker darks and the shadows and then that's four values. And if you add a highlight, that's five values.
So now we got our kind of 3d analysis here. And basically, that is what I kind of already recapped there, but you can see me doing that. There's the rhythm of that. Now that subtle one if you know that, man, you can really connect the nose to the cheek and it will look really spot on to the ball, the nose, a circle, the wing of the nose or the circles. And that is it. We got a good nose and three quarter view.