In this lesson we're going to take a look at head rotations and what happens to the elements of the
face when the hit is rotated.
In addition to that we also take a look at our focus afterwards talking about the hidde rotations.
Let's start with the eyes.
When we draw the eyes front on they're pretty symmetrical.
But a lot of the time you won't really be drawing front on hands generally typically be drawing these
three quarter of you hits
and what happens to the guys in a three quarter view is that they get compressed.
You may remember when we compared manga eyes to real eyes.
We talked about this type of compression because they're not actually built on forms and they're molek
stickers.
What tends to happen is the more extreme the turn of the face the more compressed the manga gets.
However that's only up until you're three quarter and slightly past or three quarters view because when
the eye rotates to a full profile view then a completely different symbolic shape occurs.
And really it's important to remember that the look is really substantially different from the typical
front view or even a side view or record of the.
So keep in mind that you really want to design and develop a separate side view design for your character's
eyes as well as the front of you.
And that in a three quarter rotation the eyes get really narrow and they get squished if you will as
the head rotates.
Now the degree of the squish of course is determined on the degree of the rotation right.
In addition to this what you can do to enhance the feeling that that is the fast side is you can increase
the angle that the top lid line tilts down.
So you can see here in this view the angle is quite extreme it's quite a vertical angle versus the nearside
on which is not that extreme.
In addition you can see that the nature of the pupil changes to be a little bit squished and the Irus
as well.
So keep in mind this simple Angle versus not so angled technique correctly drawing the manga in a rotated
head.
The let's move on to the nose so nose typically occurs under the line.
And in this instance we've stylize the nose as a dart as the head rotates.
That little dot can move further and further out.
You'll see it's not quite seem to here it's moved out in both sites.
So keep that in mind.
However when you hit profile you suddenly magically if you will the nose suddenly has a form a three
dimensional form as you can see on these profile views here.
So keep that in mind when you're doing direct profiles.
Of course this can change at times where you may see more form in a three quarter view depending on
how you've decided to stop loss of the nose.
Take a look at the month the math has a particular length pretty symmetrical in the front for you.
But what happens in the side view is that it typically has a shorter side on the far side and slightly
longer on the side.
Of course this depends on the character's expression and other factors but in general you'll have a
shorter line on the far side and a slightly longer line on the nearside.
And of course the line should be even shorter in the profile view
something to keep in mind.
So always try and keep the roundness of the head even in the profile views to try and keep the run up
to the head in the profile views as well as the three quarter views.
Typically the spherical nature of the cranium shouldn't really change much no matter what the head rotation
is or last thing let's take a look at the ear.
So from the front we'll see only a little bit of the ear protruding But as the head rotates we see a
little bit more and the side view and the three quarter view are typically kind of similar.
The profile we really should be just a little bit horizontally longer than the side view so do keep
that in mind in the three quarters.
So do keep that in mind and then you can see that our neck here attaches with overlapping lines where
it does connect to the back of the head in the profile of these.
So hopefully these are some solid foundations that you can help you go forward and rotate your character's
heads left to right.
Really grasping how the eyes in particular change with these rotations as well as the nose.
Let's move on to focus when we're talking about focus.
We're talking about how the eyes seem to be looking at something how the eyes are focusing on something
that they're doing.
And what is common is that people seem to draw the pupils directly in the middle of the character's
eyes.
So in the image on the left where it says blank we have the pupils drawn directly in the center of the
iris.
And this creates a blank look or a zombified look in the character as if they're not real.
The character looks personality.
Now of course this has its uses.
If the characters being knocked out if the characters in a trance Sitrick Citra.
However typically we want to make sure that we're bringing our pupils shapes in closer towards and towards
one another think more slightly squint so that the pupil is sitting somewhat in the iris.
And you can see it's as if the characters kind of looking towards us like this.
Whereas in this instance the Azo just kind of blankly staring out into space.
So focus is really one of the sort of subtle secrets in a sense of good character drawing whether it's
comic books manga animated drawings or what have you.
Because it's such a subtle technique but it is very much reflective of the real world of how we really
look at things and how I asked him to focus on things.
And it really adds so much personality and life to your manga drawings and to your character drawings.
So don't forget to focus your pupils are characters typically are looking at something they're not zoning
out or having a blank stare.
And as to whatever they're looking at unless of course the specific reasons you want that so keep a
blank and focused in mind and try to draw your characters looking at something by focusing their pupils
bringing them a little bit of a squint to each other.
And that is the end of this lesson.
I'll see you guys in the next lesson.