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all right welcome back to part two of
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this little dealio so let's talk now
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that we've covered that sort of deal
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that structural kind of breakdown get
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everything to fit I mean and if I look
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at these they're gonna really not I I
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feel way more confident these shapes one
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of the issues always have that put the
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ear too close to the eye which is the
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less of an issue here because I know
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where the center is
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I also bulge this out too much I don't
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really like that shape on I think and
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now the in this case I have to actually
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that jaw line underneath the head where
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I actually want to have it more
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stylistically naturally speaking I tend
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to always kind of eye bulge it out and
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and it's just this weird habit of having
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you guys go at some point your art
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becomes a series of you attempting to
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break habits you're actually learning
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anything you're just breaking old things
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that you've picked up along the way and
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that's one of them so perceptually
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there's this is why I've kind of always
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been against this concept of people
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doing a like how to draw this and then
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they show you the steps because really
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those steps are only useful for the
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person who drew that drawing this has
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been bothering me and I can actually see
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right in the squares is what I'm talking
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about
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I drew this rectangle and if I look at
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the rectangle versus this box shape
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versus the head shape I know I know it's
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wrong I can see that it needs to
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actually that jaw line needs to rotate
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more and that needs to go up higher so I
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can actually just quickly fix a problem
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by checking my volumes anyway you want
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to make sure you have what you need for
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what you want and what it's for
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sometimes stylistically it's not as
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important to draw all these shapes and
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stuff you're doing a cute comic or
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you're doing a more of a stylistic
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interpretation you know how all your
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shapes are supposed to look like
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you can scribble them in and then you
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know if I if I just get all these facial
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features that I've drawn over and over
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and I get them just on the right spot I
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know how to do that and then you know
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you can just smudge the rest then you're
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good and you're home free and that's not
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a problem actually you know there's no
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reason for me to start building
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constructed heads for adventure time
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when I know that all I really need is I
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need these these features to work out
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just I just need the relationships of
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the eyes the mouth and how much space
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there's around the head and everything
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works out because adding structure to
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that is actually going to break the
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charm you know so here we have me giving
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a little more time and effort to kind of
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break down the skull here it is where
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I'm you know I've drawn the sphere and
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I'm like you know I think I can pull
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this off so I've kind of pushed all
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these values and I've drawn it but you
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know what I'm going to tell you there
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was some undos here you can't see and
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some some massaging this is not a
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consistent method
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but if you know your style and you know
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we were going for it it could be useful
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and you could you really cut down on
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time having to draw all these shapes
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every single time has tedious I can even
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come very tedious when you know like all
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the loop and I'll get it right but to
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get to the point where you're getting it
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right and to not be locked into your to
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us one only specific style that you're
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now completely chained to you because
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the reality is if you build these small
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easy to do tricks for how to draw face
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you're now kind of bondage your what's
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the word you've got a you know a crutch
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you know and the thing with crutches
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people are always saying well I have a
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crutch but you know I'll get rid of the
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crutch later that's not how a crutch
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works when you've rely on a crutch you
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don't just throw away the crutch what
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happens is you throw away the crutch and
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all the sudden your waist lower and then
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you get really frustrated you just pick
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that crutch back up again because you're
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not used to dealing with problems
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without that crutch being there to help
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you through and then you throw the
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crutch away and then all of a sudden
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every single drawing is a pain in the
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ass and it really hurts the process so
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the question is you know how you break
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crutches that this whole full video and
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you know our crutches been you know a
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really good you know you could say that
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drawing a box every time this is a
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crutch you don't have to and I actually
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believe that I believe that drawing this
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every single time is a crutch because
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you'll never get to a point where you
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can naturally feel the flow of things
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and get a really cool interesting style
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because you're always going to be
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confined to a box so I'd say a really
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helpful trick can easily become your
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worst enemy depending on how much you've
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come to rely on it and it's kind of this
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I think the the dual dual edged sword
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here you're gonna find the thing that
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helps you through and then that thing is
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gonna actually hold you back at some
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point it's gonna hold you back and then
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being able to identify when that holds
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you back and how to
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Ford is going to be your problem to
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solve so here I have a simpler version
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just kind of shaped out of thing I know
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my relationships are kind of like you
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know if I have a big sphere and I put it
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like a smaller sphere or whatever I put
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these shapes here it'll work out and
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here again there are other methods and
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this whole sphere this is another reason
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why this whole sphere business kind of
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annoys me because what the sphere
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represents is not always consistent you
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know I'm gonna actually I forgot to
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actually have this right here you know I
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just want it to be clear you know some
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people will draw a big ol avoid non
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spherical shape and they'll get really
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great results with that if you're
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wondering why I always draw this kind of
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behind here I'll explain a little bit
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later I'll get to that if you're drawing
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a large sphere to represent the general
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cranial mass which is pretty consistent
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with how it's taught in a more classical
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sense that's another way that the sphere
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comes into play but then you have to
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start chiseling pieces out I have to
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actually trizol all these pieces
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outwards if I draw oval Lloyd I know
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that it's like there's there's this
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these shapes here ellipsoid shape here I
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have the sphere representing mostly I
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would say that cranial mass as much as
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kind of a mix between these two things
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cuz it's still it's not circular and
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it's not this either and then I kind of
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drawn a sphere a point here where I want
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the these two points to be and then I
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drew the mouth and I connected that and
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that's just on thing and then here you
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have the sphere representing the whole
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head and then just that part being
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chiseled out so the sphere doesn't even
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consistently really that ellipsoid shape
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doesn't really always consistently
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behave like it should and it's never
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really told more no one's out there
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going to tell you what it's for remember
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once again these tools are for you to
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use not anyone else so if someone's
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showing you a tutorial or going hey I'm
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going to draw you should draw this and
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draw this and draw this and you do the
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salmon you get really bad results and
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every time you do this damn thing you
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get bad results you need to reevaluate
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that method because maybe that method is
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not for you you know you need to explore
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things maybe I work better if I just do
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this thing and then I box out maybe I
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get because I'll tell you what man
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whenever I draw a forward head like this
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all right
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it does help because all the features
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float around and then I'm trying to
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think where the mass is but maybe you
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know drawing a oval and then pulling
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this thing out putting the ears here and
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making everything else fit around there
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maybe that's the solvation I need to get
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really kind of reliable consistent
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results I should have drawn us things I
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can actually make everything smaller
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it's one of those things I'm going to
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talk to you guys in a second here so
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you're you're kind of looking for that
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you're looking for what is consistent
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what gets you out of trouble down what
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gets you into trouble I mean I talk to
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people where they go like first I do
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this then I do this and then I draw this
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I always draw the same way in and then I
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I draw this a way and then I draw a
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bunch of stuff that has nothing to do
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with this anymore I draw a sphere and
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then I draw everything else around it
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and that's fear has no real purpose you
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got it you can't just go with the flow
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because it's just something you picked
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up at some point
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four minutes
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okay so plowing through this as quickly
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as possible because god damnit that
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YouTube restructure what I'm kind of
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been looking at is how to get a
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consistent method of building the head
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without it being too construction based
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and allowing me to kind of put different
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styles and so I've got these kind of
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I've got the the facial cavity area
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actually that's so I can get the eyes in
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and the brow and then get put the nose
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here and their lips that's kind of what
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that represents it's supposed to be kind
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of a a slice out of the face and then
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it's kind of fitting all these other
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shapes in there it's actually kind of
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behaving like I don't want to I can draw
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but I draw a larger jaw it's looked kind
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of get all those tools in those quick
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lines and make sure everything is pretty
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consistent every regardless if I've you
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know a more chibi face or I have a
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standard face or more masculine face
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additionally speaking when I'm trying to
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learn from this and trying to pick up
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what I'm doing and if I'm doing it right
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I actually try to look for these volumes
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here you can actually see these
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intersecting volumes and if I know they
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look right like if I know that this
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thing is too wide if I know that this
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shape is too thick if I see it getting
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too thick and like I know this is
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supposed to be thinner I know it
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supposed to be thinner and I know
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there's the nose is gonna overlap here
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so why am i drawing that thick you know
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or I know that this is supposed to be
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this whole jaw area is supposed to be a
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lot bigger I'm making it too small like
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here it's stylized so he can be smaller
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but you know if I'm making it too small
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I'm like I know that the jaw has way
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more volume at that angle and I've done
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I've got so little area here and the
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ions gonna go here and it's just gonna
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be all crushed inside and it's not right
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maybe the ears too close say that the
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ears too close or the jaws too small or
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whatever so you kind of start picking up
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on those little tidbits and you start
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kind of breaking all that down here for
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myself my biggest issues is that I
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always have the ER too close to the head
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here to the facial features so really I
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need to follow this crosshair I'm gonna
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have to actually do a third line and the
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other issue is that I tend to have this
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facial creep or face parts get away out
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of hand and it just eat up the whole
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thing so what I have to do is I actually
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have to kind of draw this really limited
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circle really small circle that I feel
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it's just too small for me
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if it if this ear feels too far back and
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this thing feels too small it's just
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right it means that I'm doing it right
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because I know that if I make it feel
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comfortable it's wrong a lot of art is
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basically you putting yourself in a
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situation where it's like it's not
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comfortable I'm gonna push this way past
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where I feel is comfortable and I'm
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probably gonna settle in the middle in
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the right spot and and I find that if
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you don't push past what you like if you
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push right up against you'll actually if
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you go you know you need to stretch it
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this far you're right here you need to
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go here you'll end up actually just
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going here are you I really feel you if
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you need to go here you need to go here
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and you're gonna probably stop right
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here you'll never have I'm gonna
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exaggerate that face so much I'm gonna
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other eyes are gonna be so small or the
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limbs you know everything's gonna be
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crazy and you're gonna think you're here
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but you're actually just here because
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your comfort is gonna be a question when
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you start doing this and because you
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have you're the Creator while you're
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making this you have no ability to
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really kind of take in what you're
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building without any kind of bias and
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because it's something new to you and it
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feels kind of outrageous outside of what
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you normally doing you're gonna have a
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bit of a bias to how exaggerated it and
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how much you're pushing really what
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you're doing here actually I've actually
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drawn something I'm going to cover this
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and we're gonna get to the last actually
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I think I can cover the last part here
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in the last few minutes so one of the
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steps I've done is I've always had to do
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a study once because I was just it was
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blowing my brain how much you know I
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always put the features here here and
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too much but I did a little thing a
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while ago this isn't it but it's an
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approximation and I took the box that
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features a picture and there's actually
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a thing on babe lab on how to do this
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but I took all the visible features and
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then I spread them up against and
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basically about 10 to 12 percent of the
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face maybe 15 depending on the power
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looking the head is the facial feature
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box so
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people tend to put the eyes and it's
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eating up the whole skull but really the
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features this the eyes the nose in the
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mouth are all really crammed up in their
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lives tiniest spot on the whole skull
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and this isn't even talking about hair
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or large hairdos that that feature it is
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gemmed right in there
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and I guess you know what I'm gonna just
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have to cap it off at this point but
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basically I drew this head
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I drew too small and then using a few
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steps and guys you know the orange kind
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of represents sizing that out and anyway
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we'll cover this again a little later
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thanks guys