How To Draw Real People Stylized

Introduction

Magdalena Proszowska, or simply Magda Proski, is a popular artist well-known for her stylized, heart-catching portraits and illustrations. She is working as a Senior Concept Artist in the German-based Ubisoft studio, currently fully involved in "The Settlers" game title. She joins her love for storytelling and globe creation in expressive illustrations with lifelike characters at the center. Magdalena is a self-taught digital artist, a frequent speaker at local events, and a guest instructor at Game Art universities in Cologne and Dusseldorf in Deutschland.

Portfolio: https://www.artstation.com/magdaproski

Head construction

The face is i of the most complex objects to paint. Information technology is total of bumps and cavities just similar any other dimensional object, merely the face likewise tells stories, invokes emotions, and creates the illusion that there is a real person looking at the viewer from a flat ii-dimensional canvas. In the modern world, we are used to seeing photos of people at every corner. Imagine times where photography did not exist – what incredible experience information technology was to encounter a painted portrait of a human existence!

In that location are equally many ways to construct the human caput every bit there are artists out there. The head and face are made of two types of materials: the hard and unmovable bony skull layered with soft and flexible muscle and fat. The skull tin can be simplified to only three geometric shapes: an elongated sphere, box, and half-cylinder.

Learn the shape of the skull by heart if you lot desire to amend your portrait skills. This office of the head is unchangeable and similar for everyone. If yous can construct a correct-looking skull, you can stylize the confront in any possible manner and always make information technology look believable. The skull has just one moving part – the jaw. It has quite a flexible joint; too opening and endmost the mouth, information technology can besides movement to the sides and back and forth! Try to make an underbite or grind your teeth to encounter what I hateful.

To make information technology all possible, our jaw joint became very special. When you lot open your mouth, the pivot (center of rotation) is not stationary, but your whole jaw moves slightly forward! Place a finger on the side of your cheek where you tin feel the bone. Now open and shut your rima oris to notice the frontward and backward motion of the jaw. Now yous know why you need to movement the chin forward when drawing a person with an open up oral cavity if you want to achieve a believable look.

Dimensions of the face

The skull is very important for the basic construction of the face, but the real likeness of a person is in the shape of the soft tissues attached to the os. As previously mentioned, the skull is covered by layers of muscles and fat. Some areas are quite thin and so y'all can easily encounter the shape of the skull beneath information technology. Other regions are quite thick and will move dramatically with different facial expressions.

The dark-green pattern on the face shows the areas where the pare is the thinnest and you tin can hands feel bone beneath. Those regions of the face up are covered by very thin muscles and a low amount of fatty, resulting in minimal changes of shape. Places like the cheeks, lips, and skin around the eyes tin can change shape a lot depending on the facial expression. It is worth noting that we can still find surface changes on the dark-green areas due to skin stretching or wrinkling.

After learning nearly the skull, the second most important matter to retrieve is how spherical the shape of the confront is. The face is not a flat plane that moves in space. It is necessary to keep in heed that all features are placed on the round surface of the head.

Face expressions

When yous smile, you lot exercise not only lift the corners of your lips upwards. There is a cascade of muscle movement following the expression to create a real grinning on your whole face. The eyebrows, eye shape, wings of the nose, shape of the mouth and much more – all will move depending on the emotion that is expressed.

Observe your friends and make different faces in the mirror to study carefully how different people construct emotions using their faces. You volition improve in no time and your drawn characters will become more believable than ever before!

1- Neutral, 2- Joy, iii- Sadness, 4- Shock, v- Fright, half dozen- Acrimony, 7-Disgust

The picture show above shows simplified basic emotions with directions of muscle movement (green arrows) and cosmos of wrinkles (blue lines). If you want to keep your characters looking young do not suggest wrinkles with black lines, as the more wrinkles you draw in lineart on the face, the older/uglier the grapheme will look. Instead, place your attention in the subtle shape of the eyes, eyebrows, and rima oris as they have a huge spectrum of possible motion.

Movement of the eye and eyebrow

People often telephone call the eyes "the windows to the soul." Information technology is true, eyes are extremely an expressive feature of the face up. Just eyes by themselves tin can tell you if a person is smiling, scared, or angry! There are many groups of muscles surrounding the center. The eyelids can be pulled broad to prove whole the iris, or area around optics can exist contracted to squint eyes and create wrinkles. The eyebrows on their own have separate groups of muscles to pull the outer and inner ends – that is why eyebrows tin curve upward and down and create a wave shape! Additional special muscles can pull both eyebrows together above the bridge of the nose.

Observe the image in a higher place. Those are just a few examples of possible center expressions associated with emotions. J1, J2, and J3 show expressions of joy. The eyebrow is neutral or slightly pulled up. About importantly, the outer eye corners are squinted and elevated by the cheeks when we smile. The squint makes a real departure between an honest or faked grin.

A1, A2, and A3 are expressions of anger or disgust. The muscles above the bridge of the nose do heavy work here. They pull the eyebrows down and together, creating many wrinkles betwixt the eyebrows and on the span of the olfactory organ.

F1, F2, and F3 express shock and fearfulness. This is the only expression when you want to prove the full iris not overlapped by eyelids. Dissimilar eyebrow shapes make wide-open optics express different emotions, from surprised to horrified.

Motion of the mouth

The lips are surrounded by multiple groups of muscles, giving them an countless arrange of shapes. This allows usa not merely to express emotions but also let us make a variety of sounds. Below you volition find only a few examples typical for expressing joy, fear, and anger. While drawing the mouth, be aware that when the teeth are separated, the chin must be lowered. The top lip can roll up and show the teeth with a delicate curve, like in smile S2 and S3, or with a more aggressive line to express anger and disgust (G1, G2, and G3).

Ever wondered why the corners of the mouth are suggested with a small curved line? The corner of the oral cavity includes a node (Northward) to which a lot of muscles are fastened. See the S1 diagram. The node is a spherical shape creating a small bend (shadow) at the corner of the oral cavity.

Mouth muscles tin work unsymmetrically. You can smile with just one corner of your mouth. Observe in the mirror how many faces you can make!

Movement of the nose

The nose is an unappreciated feature of emotions, but when treated right, it can add together subtle yet important expression to the confront. Notice that the nostrils stretch together with the mouth in N4. The nostrils will open wider when y'all inhale securely. This can create an intense look on your character like in N5. When angry or disgusted, nosotros wrinkle our nose like in N2 and N3.

N1 – neutral, N2 – cloy, N3 – angry disgust, N4 – shocked, N5 – intense

To conclude this introduction on cartoon facial features, don't be afraid to experiment, mix together different emotions, and create unique expressions for your characters. Most importantly, observe from nature! The mirror is an essential tool for any grapheme artist.

Creating illustrations focused on expressing emotions

Understanding the basics gives you unlimited potential for stylizing your characters. Let'due south go back to the beginning of this tutorial where I showed you the basic geometrical construction. Modifying the proportions of those elements allows us to create stylized and conceivable faces.

Operating with simple geometric shapes also helps you to control the tilt of the caput in perspective. I went for a cute character with large eyes and a round face up. I increased the size of the middle box and made the half-cylinder shorter. In the next step, I draw a skull fitting those proportions and a total confront on summit of that.

For a genuine smile, I keep in heed to raise the eyebrows and overlap the lower chapeau with the cheek. Find how the stretched mouth lifts the cheek and makes the shape appear rounder.

Source: https://www.clipstudio.net/how-to-draw/archives/157239

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