Red Dead Treasure Chest

Take an asaro head into blender and draw different angles of it. Have I ever done this? No. But I imagine it is very useful.

Look at yourself in the mirror, rotate your head, keep track of certain points like one nostril or the corner of your eye as you move. Do this slowly, keeping track of your point, and within your head create copies of what you're seeing, think why the form seems to change. Ask yourself: where does it go? Why did it go that way? If I moved on a different axis, what would it look like then?

The key to being able to draw faces, people, or anything, reliably, even from imagination, is to question the world and answer your questions so a pattern can form, so we can understand it.

We are meaning to stylize, interpret, and produce reality/a reality in our work. Luckily, reality can be observed and explained.

Be very observant, be curious, make educated guesses. When you are walking down a hallway, before you round a corner, imagine the corner already rounded, imagine what color it will be, imagine the visibility of its texture as it flattens at the side and reflects its surroundings. Then, when you get to that corner or whatever you are nearing, compare what you've imagined to the reality.

Were you close? If you were off, take it slow. Move your camera (you) slowly around the corner or object, create those images again, in having a comparison of what you imagined vs the reality, there is direct feedback you can learn from and your memory may store this information better now with corrections of mistakes.

Do this when drawing, too.

Mistakes are important.

You may look weird, hovering around seemingly mundane objects, but the seemingly mundane is beautiful as it is real.

In learning to draw people, see them as objects. It sounds odd, but given all I have said previously, I hope you can understand where I am coming from. You do not need to be 100% true to reality in your representation of the human to create good art. In art, the soul of the human depicted is often enough even if the face or body is not truly sound.

When I started learning humans, I found it useful to view them without humanity but instead as animals. We are comprised of the same muscles of most vertebrates, give or take, our bodies are just arranged differently between species. That knowledge made drawing the human less daunting for me. It was just an animal, not something totally different to what I was used to.

So this second part is more of how to interpret in aid of learning rather than any good tips on faces/features/people.......... I apologize. It is a very broad subject that is best learned by observing and drawing than what I could detail in a whole book on how to draw each feature of the face.

I am also not experienced enough to attempt such a publication. I am still learning.

Some strawpages I did for ppl :)