Anatomy Quick Tips Mouths


Sinix Design


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hey everyone cynics here and this is another episode of anatomy quick tips this time I shall be covering the mouth so don't fight it once again this series is here to give you basic tips and shortcuts that might help you improve your anatomy when drawing from imagination I'll try to keep things fun and light-hearted so in honor of this video being about Mouse I'm just going to leave in all the horrible mouth sounds that I normally edit out of my videos alright enough nonsense let's start fixing up our mouths brace yourselves anyway starting with structure I'm going to go over the basic shapes and Anatomy terms I will be using throughout this video here's a quick drawing of a basic mouth from the top you may remember our old friend uncle philtrum from the nose episode that is one of our main connections between nose anatomy and mouth anatomy moving on to the lips many lips follow the shape of the philtrum to form the top line of the upper lip in a shape we call the Cupid's bow not all lips have a pronounced Cupid's bow though fuller lips tend to just round out the upper line of the lip moving down slightly we have the bottom line of the upper lip and more specifically the central deposit of flesh which forms a shape which I will refer to as the upper V this is just a simple term that I like to use and it's going to be extremely important to our drawings so take note of it towards the sides we have the corners of the mouth which are also extremely important to keep in mind the corners of the mouth contain the deepest pockets of ambient occlusion on a closed mouth at the bottom of the mouth area we don't need to focus so much on the bottom lip instead it's much more important to focus on the plane change between the cheeks and the chin I don't have a specific name for this but it can relate to the jowls although that usually means something slightly different but we'll just call it the separation between the bottom lip and the chin or the cheeks and chin whatever in its most relaxed form the opening of the mouth tends to slope down and away from the center in a couple distinct lines the corners of the mouth also follow that down an outward flow I like to rep and all of these features with a few minimal angles and straight lines on another note don't forget that the central flesh of the upper lip is in front of everything else it's worth remembering that because all of your T lines will be dictated by shape dominance T lines are a cornerstone of good organic drawing so always make sure to use them properly as the key way of showing form speaking of form it might be worth going over some super simplified plains of the mouth area Sharleen it like this always gives me weird and Ross flashbacks but perhaps the easiest reference to keep in mind is that of Homer Simpson always remember that the mouth sticks outward like some awkward six-sided tent this will help you dictate how the mouth should look when you're drawing the mouth from both subtle and extreme angles just don't do studies of these stupid faces down here this was just for a quick demonstration on the overly simplified shapes for a further emphasis on forms and how they relate to the bottom of the mouth I'm going to draw a mouth using lots of contour lines from just a form standpoint you may notice that something is missing the lower lip can actually be described as more of a surface texture than a form feature keeping this in mind will be super helpful when it comes to actually having to paint or render lighting on the mouth and hopping back to that upper V I mentioned earlier this is going to be one of the key components for drawing the mouth from a 3/4 angle I'll do a couple demonstrations here but you can see a healthy emphasis on the V shape can really help the mouth create a lot of subtle form management just remember T lines are not to be exaggerated everywhere only in the direction that shows dominance over the further side of the mouth while I'm detailing things I guess I can talk a bit more about the Cupid's bow it's also useful in knowing how this distorts in the 3/4 view but aside from that you may remember me saying that this feature isn't always necessary in fact a lot of times I personally think it is more appealing to have a fuller upper lip that just rounds out along the top for most female characters a bit of personal preference but when doing this just remember that the upper lip will be transitioning into the rest the face in a much softer way with less hard planes and while on the subject of full lips we should also take a moment to deconstruct the basic fatty deposits present in lips these can be divided up into separate shapes on the top lip we can have three main plump spots while on the bottom lip we can divide it into two sections that are pressed up against each other in the middle fuller lips can exaggerate these plump areas whereas thinner lips can all but ignore these spots just remember fuller lips means more added form and more exaggerated T lines moving right along to the side view of the face the mouth is relatively simple just remember it does push out forward but try to keep the corners of the mouth somewhat close to the front of the face don't pull them back into the cheek area a lot of people have the tendency to do that when they're starting out just keep it close to the front you should also take note that their relaxed angle of the mouth slopes downwards slightly this will also add to your realism and finally the upper lip generally has a slight forward dominance over the lower lip this can be exaggerated or nullified by overbites and under bites respectively so far we've been dealing with the mouth in a very static way but of course that giant hole in the front of your face does open up from time to time one important distinction you should remember is that since your front teeth bite down in front of your bottom teeth your mouth opening generally lines up somewhere with the middle of your upper teeth it is not some even split right between the upper and lower teeth a small parting of your mouth will always reveal the upper teeth pretty distinctly opening up even further you might notice that all of that hard work we spent on learning the shapes of the lips becomes pretty much irrelevant that upper V and resting T lines are all destroyed by a strong opening of the mouth of course our upper jaw is fixed in a mobile so not a whole lot will be changing with the relationship between upper teeth and upper lip but the lower jaw will hinge away from it revealing much more of the tops of our lower teeth and the entire bite palate of our lower jaw it is definitely worth drawing this from a side view to better what is going on you can see how the chin moves further and further back from the front of the face it's very simple in theory but if you never took the time to draw it or really deconstructed you might have struggled a lot with drawing a wide-open mouth I think that will do it for my main notes on structure I'm not going to go over teeth but you can just do some quick studies of skulls if you want to improve your understanding of teeth let's talk about relationships where should you place your mouth nothing weird about those two sentences to quickly summarize the mouth is usually located somewhere right above halfway between the bottom of the nose in the bottom of the face there is definitely a range of variation present in this placement but I find that to be a good quick rule for the width of the mouth usually just making it slightly wider than the width of the nose will be fine a smaller mouth can be roughly the same width of the nose and a wider mouth can flow out into a natural extension from the left lines on the side of the nose it's all right there on the screen let's talk about reductions one of my favorite parts to go over and all these Anatomy quick tips simplification is even more important on facial features because often times a good ratio of minimalism and empty space will contribute greatly to the aesthetic appeal of a face this is going to be super basic I'm just going to tell you what parts matter the most the most important part is definitely the corners of the mouth once again from a lighting standpoint these have the most depth if you have to show just one thing show the corners of the mouth but if you can show another thing show the center of the bottom lip where the lip area shifts into the chin remember you're not drawing the outline of the bottom lip just the convergence of planes that happens right under the middle of it lastly you can show a hint of that upper V on the top lip once again it's a dominant shape so it tends to create a little hint of ambient occlusion these three features are really all you need to showcase lips in most situations and you can show all types of variations in lips with just these features I will very quickly go over some common mistakes although to be honest they're all just going to be a matter of not following things I already mentioned one common mistake is making the mouth too low people from an anime background tend to struggle with showing proper mass in the lower jaw which results in the mouth often being too low on the face just make sure it's above halfway to the bottom of the nose the next most common mistake is something I've been mentioning non-stop drawing the iconography of lips instead of drawing the form of the mouth this makes your drawings look super flat and lifeless always avoid this default iconography lastly people tend to open the mouth in really weird ways I understand that open mouths get practiced far far less than closed mouths but try to at least keep in mind the mechanics of how everything works and you'll be fine I think that pretty much sums up everything I wanted to talk about with mouths it's time to have some fun and actually paint some I'm going to start by drawing a bunch of mouths a couple of these will be based on photo reference and most will be made up from imagination if my skills are strong enough hopefully you won't be able to tell which are which in hindsight yes I should have done more extreme variations on mouth angles and openings but I find drawing and rendering the shapes of lips to be really enjoyable as always I will be using a very basic approach drawing on one layer base colors multiplied on another layer and then merging them together and painting above them both on the same layer I'm noticing that I completely forgot to colorize my line work this time though normally it would be best to colorize the line work into a deep dark Lee saturated tone usually something in the red family this just gets rid of that 100% digital black tone that mixes so poorly with the other colors oh well I'll try to get a mix of skin tones and lighting situations although spoilers again I kept everything pretty boring and tame some things to pay attention to I'm trying to really cue in on the major form changes when painting so corners of the mouth and the transition to the chin are really the key areas to make these all look realistic when it comes to things like teeth remember to never jump too deeply toward a white tone account for lighting and keep the teeth in a value range that's more similar to that of the skin maybe just slightly more desaturated and slightly more yellowish most of the planes around the mouth can be blended quite smoothly however for the lips themselves you can really emphasize the striations present on the texture of the lips use your brush strokes to follow the contour lines of the lips and capture those striations naturally also for the lips it's important to keep in mind the fatty deposits we talked about earlier so three on the upper lip and two on the lower lip don't go overboard just hand out those with proper subtlety the local value of the lips is generally darker than the surrounding skin tone so always just pick it in reference to the surrounding skin color slightly darker and slightly more toward the red tones I like to worry about secondary lighting effects and highlights last the specular is on the lips are also a finishing touch lips are generally portrayed to have much more surface moisture so this means more reflectivity and that means more sharper specularity most of these are going to be fairly straightforward although I can tell you that I really live for sneaking in strong touches of pure saturation any chance I get you may notice that the face in the middle has a couple of these touches most notably the hint of a tooth poking out on our left is almost entirely represented by a touch of brightly saturated baby blue color here I'll just show you what I'm talking about the more often you can rely on this artistic intuition instead of concentrating on what you think a color should be the better off you will be with your paintings these touches of pure color can really add a lot of life to a piece once again a good painting is often a play between warm and cool tones so find ways to enhance that and that is also of course why I paint these skin tones on such a cool greenish blue background color moving farther and farther along you might notice that there is often a bright line of value surrounding the upper lip it's like a thin little line of lightness sometimes this can be hinted at along the lower lip as well the more confident and definitive you can be with your choices the better things will look so knowing every potential place you can pop in some value is quite useful and a quick daily reminder to constantly be checking your values by squinting often and squinting hard I want to take a moment to really focus in on this bottom left mouth I decided it would be a useful exercise to start this one by ignoring the surface change of the bottom lip completely and instead focusing entirely on just painting the form this might really be a great thing for you all to practice it helps you really get in the mindset of how the form of the lip flows into the cheek and the rest of the face now if I did a good job with it all I have to do is airbrush in a bit of darker color over the lower lip surface and it should look realistic enough I added some extra glossy specular zazz well and I think it worked out just fine the last one in the top right has a bit more expression thrown in so there's a few ways to render LED depending on how old and wrinkled do you want the face to look just don't forget once you start pulling the mouth into different shapes the lips become a lot less important in the form all right I think I've chewed up about as much of your time as I can talking about mouths I'm going to try to wrap things up now and of course it wouldn't be Anatomy quick tips if we didn't end on some silly little animation a nice little cheeseburger POV shot alright so thank you all so much for watching and I hope this was both informative and enjoyable feel free to let me know what piece of anatomy you would like me to cover next in the comments below finally an extra gigantic thank you to everyone that supports these videos via patreon I shall try to pick up the pace see everyone