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Mouth Part 1

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Transcript

Okay, Hey there, let's do a quick anatomical breakdown mouth. And it can help us understand it a little bit better. So the head is split. right down the middle. It's bilaterally symmetrical so that that means that the eyes are on one side, they're the same on each side, the nose, the mouth. And look how it's connected.

That's one of the main things that I want to point out is that and I talked about this a lot about connections that it's just connected by all these muscles that go off in a kind of array on both sides, right. So these muscles like the zygomatic major here, connects the mouth to basically the side of the head. Okay. It's also connected to the nose. We can look at look at this right here. Oops, look at that all the way down right to the nose.

So this is a muscle that lifts up. And so you can imagine how important that is in expressions. So the nose connected to all the way up to just about the forehead. Okay, and that's the letter lady I superior, it's okay, so it's a Labrador muscle, it's pulling up. And they have other muscles that are depressors that pull down like the depressor. And really, there's a depressor lady I inferiority mentalis.

And so, this mouth is capable of almost an infinite variety of things. expressions and positions that it can have. Now this is the orbicularis Boris is the technical technical name. It's the red lips portion of the mouth. So our lips, the red part, the part that looks like this. That's part of the muscle.

Okay, isn't that interesting? So I think that's really darn interesting myself. So the connections are really important. The sutures of the mouth. I wanted to point out here, something called the muscular node. Some say it's like a little little kidney bean kind of thing, right?

That's there. It's easy to miss, but it's there. There's a place for it. And you can see, again, the muscles radiate out from that place. It's the only place on the body where muscle is not connected to bone. It's, it's like free floating there.

So that's unique to the human body. Right there. Notice the positioning of the mouth as we turn away. Right, the lips start to crowd out on that far side, crowd out the far side of the face. And you can see that the characteristic shape, right, see curve on top, see curve on bottom, that curve is going to start to accelerate so it's going to get more severe as we turn away. So there's a little bit there's three quarter and then side.

We can't see anything. So it's kind of like that. Think of it. You can think of this is like a band, a kind of rubber band. That's sick right? And it even can have thickness here.

And if you just think about it like that, then it's not that hard to figure out what it might be doing in different positions. Okay, here's the front. It's more about like this kind of band and even the lower lip, same thing. Just curve around so it's, it can be a flat band, it can be slightly curved because the left lips are slightly curved. Okay. So there, there's the lip from the side position.

And this outer part of the wing. Let's say the wing of the lip overlaps the tubercle there, the tubercle is right here. Whoa, okay. So as I was saying, as we watch Watch this thing turn, you can see the curve start to really accelerate. Okay, and you've got this space right here. There's a distance between the inside contour of the mouth and the teeth.

Right? So it's almost like a little triangle in there. So we've got the lip here. That little dark shadow there. If you look deeply in the field, and you look often enough, you'll see this right? There's that little shadow.

So in other words, the teeth are not they're not right up against The lips, okay, don't do that, right? It's more like this. Yes. Create that shadow that's in there. Okay, so let's move on to doing some quick drawings of eight different positions of the mouth. I'll give you the step by step by step setup that works like a charm.

Okay, let's start with the mouth straight on. I've got the crosshairs and the circle representing the two cylinder. The upper and lower lip are to see curves. The chin rhythm intrudes on the rhythm of the mouth. The nose also intrudes on that tooth cylinder or barrel of the mouth, putting in the tubercle on the upper lip and swinging up curves for the lower part of the upper lip and it looks like a cupid's bow Then I've got to either side the muscular node at the sutures of the mouth, and the modified w at the bottom. And the lower lip has two little distinct areas like pillows kind of below out, give it its fullness.

All the setups on these are exactly the same. So that's the benefit of working this way. So now I've got to medium size lips at three quarter view. And I've drawn a contour from top to bottom, signifying the two cylinder that it is a way it pulls away from the front plane of the face. And that's how I can set that up and get the dimension. Again, we've got the nose and the rhythm of the chin intruding on the two cylinder which is also caught the laughs lined with a barrel of the mouth.

So that's three quarter view. We'll just go through these pretty rapidly. Now I've got a big lip set against the very small lip. So in your character designs, in your stories, in the motivation of the characters, all these things will all the parts will conspire to make your character who they are. Now we've got the reverse a small upper lip against a very big lower lip. And as you observe people around you'll start to see all this variety and there's not much you have to do to get all that variety which is the great thing once you study down and drill down just a little bit.

This stuff becomes pretty elementary to you. Given a tone to that upper lip and some lower lip to show the plane changes that modified w on the bottom So the lip is great, it's full of expression and when you're doing your expressions, most of that will occur with the mouth and the eyebrows. So the mouth is crucial in conveying emotion. So you want to do your studies on that. This is a biting the lower lip. So you can see two little front teeth, compressing, biting down on that lower lip and really hiding it so you don't see it.

You see the compression folds as three separate lines there. And that seems to work for that position. And that's a seemingly a tough position but it's not too bad, actually. That line line just above the upper lip, it's an oval, that's the philtrum and it connects them out to the nose. Everything needs to be connected, it just looks better, it looks more valid, looks more real. When the mouth is connected to the nose to the philtrum, and the mouth touches the chin rhythm of the chin with the lower lip.

I can I've got two big, thick lips. And each of the upper lip has three distinct areas, the two sides and the middle tubercle. The bottom lip has the two pillowed areas. Now this is this is like a little baby's mouth, a little kid's mouth almost if you look, it's very trapezoidal in shape. And it's really a cute, expressive mouth and I remember looking and looking at people on the subway and trying to figure out what made that kind of cute, innocent, baby look or Cute, cute girl kinda look and it's that trapezoidal shape and the big upper lip played against the small, lower lip. Okay, here we go with the next one.

This one is definitely a challenge. Can you guess what it is already? You guessed it, it's a low camera angle looking up. Can you see it? If so, what gives it away. This is not hard as long as you draw your crosshairs over the sphere of the two cylinder it can convey that pretty easily and you'll see more upper lip than you'll see lower lip in this position so you can low camera angle looking up and as long as you overlap the chin, overlapping a bit of that lower lip.

The lower lip is still inferior to the upper lip and coming out of it. But you can also overlap take advantage of some overlaps and then the filtering can To the nose and you'll see, of course, more of the nasal passages from this position. Okay, so not bad as long as you just set it up with your crosshairs on the sphere To where? Yeah. So it conveys that we're looking up. Now we'll be looking down so we set the crosshairs opposite to how it is if we're looking up and so this is a high camera angle looking down, you'll see more lower lip, less upper lip.

That horizontal cross hair will tend to swing up like a smile. And then the masculine nodes set the terminus of each side of the mouth. Okay, I'm just kidding the rhythm of the chin there. And how the chin fits in. Everything fits. If you can get everything to fit, that's also another key component and making things look valid in your construction and looking real.

And people who question it will get a sense of the nose in there from this angle, less of the nasal passages and less of the lower plane of the nose. All right, we've done eight mouth positions, all the setups were exactly the same. So if you get that process, it should be really no problem. And make sure to connect everything and you'll be in really good shape. So when you're conceiving forms for your character designs, remember you can play the upper lip against the lower lip and you have all that flexibility with this approach. Okay, was See you in the next module.

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