All language subtitles for 3 – Izrazi lica i promene – ljutiti izraz

(Chapter 5-3,
Faces)

(Facial Expressions and Transformations -
Angry Expression)

In our last class,
we went over the facial features...

and sketched faces in various angles.

In this class, based on the drawings
we did from our previous class,

we'll draw
in different facial expressions.

And we'll go over
how different our faces look...

when the facial expressions change.

And we'll go a step further
by taking a look at the changes...

based on the age group.

So let's go over these differences.
We'll change the facial expressions...

based on these sketches we have.

You just need to have
good facial features.

When we drew them, we already
considered the shapes, proportions,

symmetry, and angles in these sketches.

So they will come in very handy.

Right now, I have the sketch I used
for the beginners' course...

to explain the facial features.

And I have a drawing with facial muscles
based on the sketch.

Let's use this to change
the facial expression.

First of all, when someone gets angry...
Let's try the angry facial expression.

That one is used most often.

First, lower the opacity.

Okay.

The eyebrows will move
closer to the center, right?

And we should see a frown, right?

As I told you before, when you draw,
it's not about changing one thing.

When you change one thing,
it affects everything around it.

It's similar to a wrinkle.

Everyone, we'll have
a whole chapter on wrinkles.

So to be able to connect them together,

you should always pay attention.

I always remind you that
our skin has wrinkles. Right?

This is the same logic. It's simple.

If you think about it,
you'll be able to understand this.

No need to make it complicated.

When something
as wide as this shrinks into this,

the surface has to crinkle, right?

This is the logic. Right?

The same applies to our skin.

Since the surface area shrinks,

it should crinkle like the one
I showed you just now.

It should be wrinkled.

It should be wrinkled like this. Right?

One more thing.

Take a look at this facial expression now.

This character looks somewhat annoyed.

The eyebrows...

shrank only bilaterally.

The eyebrows will crinkle bilaterally,
but they can also tilt downward.

They can tilt downward like this.

Just like this.

Like this. Right?

All right.

The eyebrows are closer to the center,
but they are tilted downward.

So with this change,
the character looks angrier.

What would happen then?

Not only do they shrink bilaterally,

but both of them
also tilt downward. Right?

Then let's take a look
at the eyebrow ridge.

We went over this
when we created the silhouette.

So this muscle will tilt downward too.

Like this.

Right?

When people frown,

having eyebrows brought together...

is a common feature.

And when people get annoyed or angrier,

the eyebrows are brought together
even closer.

Then what happens
when the eyebrows tilt down?

Like the eyebrows, when people frown,

all the muscles
will head toward the center.

All right. Let's try that.

I'll show you how they look
based on that change.

Just like the rest of the muscles,
the muscles around the eyes...

head toward the center.

The distance here will get shorter.

The same applies here.

So when our characters frown,

their facial expressions stand out...

because of a heightened contrast
in the middle here,

and this muscle will be pulled.

The eyes will be pulled in
toward the center.

As you can see here,
the curve here will be heightened.

So...

there will be a wide shadow on the eyelid.

It will jut out even more.

When the eyebrows are brought together,
the eyelid will...

look a bit darker.

And once you tilt them downward,

as you can see that
the nose is wrinkled too.

Based on the centerline,

you'll see wrinkles on the nose too.

Let's go down a bit more.

I told you that the muscles
should be brought toward the center.

Then let me show you
how this muscle changes.

It should be pulled up like this.

Like this. It will be pulled up.

So if it gets pulled up like this,

just like the other parts of the face,

the nose should
be lifted like this. Right?

When the muscles on the nose
are pulled up,

the nostrils and alar rims
will be lifted too.

As for the mouth, we can move it.

We can make various facial expressions.

Looking at what we have so far,

we can see that the character is frowning.

When the muscles around the nose...

get lifted overall,

this is enough
to make the character look pretty angry.

But the philtrum will be raised too.

So even if the corners of the lips
don't move...

and stay where they are, naturally,

the philtrum will go up
like the facial expression we draw...

for angry characters.

It will go up like this.

Here's one more thing.

Without having to change the mouth,

the philtrum does go up.

But we can lower the corners of the lips
if you want.

We have the orbicularis oris muscle here.

So we can lower them even more.

Okay?

And when they frown like this...

with their lips closed like this,

people tend to clench their teeth.

This is the masseter muscle in the jaw.

And the jawline might be...

wrinkled like this.

Like the other muscles,
it will be lifted toward the center...

of the face.

It will be wrinkled like this.

The wrinkle will be quite visible.

Then first of all, let's put
the facial expression on this sketch.

Let's try this out.

Let's apply these conditions we have.

I'll go with a big frown.

I'm going over this...

under the premise that you can...

draw with symmetry.

Since one of the eyebrows is different,
I should fix the other one too, right?

The eyelids will be narrow,
and the brow ridge will protrude out more.

Of course, the eyebrows can be uneven.
One of them can be higher.

But...

we are...

practicing our fundamentals,
so I will make them look symmetric.

All right. I fixed the location.

I will portray...

the wrinkles I talked about earlier.

Since the space between the eyebrows
got narrow, it will be shaded a bit more.

But again, these wrinkles are
in the lighted area. Remember what I said.

Now that it's a face,
you can't think of it as a sphere.

We practiced making it
into an oval-shaped sphere.

Don't think of it as a regular sphere.

The face is slightly flatter.

So...

the wrinkles are in the lighted area.

They can't be shaded too much.

People who struggle to draw faces...

It's the same thing
with drawing body figures and muscles.

They always accentuate the curves too strongly.

Because they accentuate
all the curves too much,

something looks off.

But these curves
don't stand out that much.

A common mistake would be
emphasizing the cheekbones too much.

Like I told you,
my facial features aren't soft.

My cheekbones do jut out.

I don't know how I look on the screen.

But these parts aren't shaded
that much, right?

As I told you, nothing stands out
more than the facial features.

So if you try to accentuate
the cheekbones and such,

you'll end up with an awkward face.

I made a big frown.
Look at the space between the eyebrows.

But I will soften that a bit
because it seems off.

Soften it.

This is a big frown.
Actually, it's way too strong.

I'll soften it more.

When you're painting, always check...

if you have enough colors...

that can support
whatever color you are using now.

The frown is accentuated too much.

Like I said, even if you have enough data,

you can't have a good drawing
without painting skills.

To do that, you must improve your skills.

And the most important factor of painting
is your sense of balance.

Being able to balance the tone
is very important.

Like this.

All right. He looks upset, right?
But I'll make him look even angrier.

Okay. The nose will wrinkle up, right?

So let's change that.

And of course, the nostrils will
get bigger just like mine now, right?

Like this.

Like this.

Right?

The bottom of the nostril
will tilt more, right?

Because it will be pushed up.

Okay. It tilted. Again,

when something changes,
it's bound to affect other areas, right?

Only changing one thing
is a one-dimensional approach.

Everything is connected.

All right. We ended up with a curve
that wasn't there before.

Look over here.
This wasn't wrinkled before, right?

It was flat before, right?

I added a very soft wrinkle.

But when this part got wrinkled,

this is the bottom surface area.

Then think about it.
The bottom surface area got pushed up.

That means the top surface area
is a bit voluminous now.

You get that, right?

Then the bottom surface area
got pushed up.

So this part is slightly shaded. Right?

Then there should be a top surface area.

No matter how simple this wrinkle is,

this part should be highlighted.

The top surface area...

Highlight it
in accordance with its volume.

Add that in just like this.

Like this. Okay.
Then this looks pretty realistic.

All right.

I also went over the muscles
around the nasal bridge.

The curve should go toward the center.

It should be very subtle.

Again, I shaded it.

Do I just leave it there? No.

Since everything is connected,

you should add a highlight too.

Okay. That way,

you can... Let me add one more.

I usually add two lines.

Like this.

Okay?

If there are lines on this side,
there should be lines on the other side.

Of course, we can only see
a very small portion of the nose.

But you need to get into
a habit of keeping things symmetric.

Stop trying to complete your drawing
by visualizing only one side.

Once you try to visualize the other side,

you are bound to understand...

the drawings better
and improve your drawing skills.

It's the same when you sketch.

I told you to always...

keep in mind about painting
when you are sketching. Right?

Then you'll be able to use
those sketches at some point.

It's a very weak silhouette.

But you can see that this nose...

is symmetrical.

Like this.

Once the lower eyelid moves closer
toward the inner corner of the eye,

the inner corner of the eye
will be shaded a bit more.

It's the same with the other eyelid.
The inner corner will be shaded more.

All right. Let's move onto the lips.

Since our philtrum is raised
without moving the corners of the lips,

he does look angry here.

Right. He still looks angry. Like this.

Like this. Right?
The corners of the lips didn't move.

With the raised philtrum,

he looks angrier, right?

But like I said,
orbicularis oris muscle might be affected.

So the corners of the lips
might go down like this.

Like this.

If you lower them too much,
they won't look realistic.

Again, if you did something to one side,
do the same to the other side.

Get into a habit of that.
Do it no questions asked.

You must always be thinking about
how you can keep the symmetry.

All right. The corners of the lips
are at the same height.

But they don't seem to be symmetric.

Why? There's one more thing we have to do.

We must work
on the orbicularis oris muscle.

When the corner of a lip goes down,

the silhouette will also change.

Like this.

The orbicularis oris muscle
was pulled down.

Then the silhouette
should reflect that, right?

Do we stop after fixing one side?
No, we should get the other side.

Add a curve on the other side too.

Then it will look like...

the muscles are pulled down at both sides.

Right?

Okay. They should look like this,
so they are symmetric.

Okay?

All right. Let's pretend
that he's clenching his teeth.

Gosh. But this side of the mouth
is jutting out too much.

This isn't working. They aren't symmetric.

Right. It's not working.

They aren't symmetric.

Let me fix that.

Okay.

He's clenching his teeth.
The jaw muscle...

Just a bit.

It should jut out just slightly.

And the bottom surface area
naturally blended in, right?

There's a curve here. Right?
And we'll pull this muscle.

Pull it up.

Softly brush that part.

Brush.

Softly blend it in.

Okay. It's the same step again.
There's an extra muscle here, right?

Just like we worked
on the eyelids and the nose,

the highlighted area
should be slightly bigger.

All right. Now, he looks angry.

No. Since we worked on one side
of the jaw, we should do the other side.

Get into a habit of doing that.

Since the jawline got wider,

the silhouette on this side
must be changed...

no matter how small it is.

Get into a habit of checking...

both sides together.

Then your drawing will improve a lot.

Once you get into that habit,
you'll improve a lot.

All right.

So we finished drawing an angry face.

Okay.

I went over some basic changes.

And I applied them to this sketch.

But I can make him look angrier.

I can make him clench his teeth hard.

Or I can expose his teeth.

Depending on the situation,
we can make him look madder like this.

We can accentuate them more. Right?

So we can exaggerate the factors...

we used to make him look even more.

You can go for it as long as it's in line
with the character you had in mind.

Right?

He can't look like
a different character, you know?

If that's what you were going for,
then it's great.

But if you did that unintentionally,
it's wrong then.

Anyway,
we just finished drawing an angry face.

(To be continued in the next class)