How to draw faces in any style?

Here's how I draw faces and heads in my style, using a somewhat simple process that has not only helped me study and draw faces from life, but also come up with weird faces from my imagination, some of which have made me question my sanity. So without further ado, let's start with step one. The base. Every face for me starts with the base. Think of it like building a house. You don't start with curtains, you start with cement, bricks and concrete. In our case, three things, the spear, the face mask and the cylinder, which actually represents the skull, jaw and the neck of the head. This is the first step in my three six method of drawing heads where this three actually is the first almighty first three. And listen, I can't stress enough how important this face is. I place a lot of importance in this face. Most people actually give you overly complicated formulas to draw the face like divide the line by the square root of Da Vinci's beard. But in my opinion, if you just get this particular base right, get it absolutely clean and perfecto, you can actually draw whatever the face you want to draw and however you want to draw it, actually. Now, if I'm drawing a face from reference, I'll make sure that these forms roughly match the photo like this or this or this. But if I'm actually drawing from imagination, oh, it's chaos, baby. Let's go. I radically mess with these shapes like a lot. Random alien skulls, meshy forms, jelly bean jaws and neck cylinders that looks like they do dead lifts three times a week. So I basically play with it. All these three aspects, squishy, mushy. I do everything to these things, things that you cannot speak of. The big mistake most people make is thinking of these things as shapes wrong. I don't see them as flat shapes. I see them as 3D forms like clay, like balloon animals with deep emotional issues, forms that you can rotate, squeeze, mush, turn around, just do all kinds of stuff that you cannot speak of. Then I simply use the X on the spear or on the top skull form to determine the angle of the head. If I want the head to look up, tilt the X up. If I wanted to look down like a dramatic anime sadness scene, I'll tilt it down. This is how I get the angle of the head right. And with this, my friend, that is step one. Now, step two, the base plates. So here's the deal. Your head is not just a ball with a jaw stuck on it like Mr. Potato Head. It's complex. There are planes, there are angles, weird bumps like Indian roads that makes us all human. But instead of turning this into a face section class, I actually simplify the different planes of the face, which actually, if you look at it in detail, could look something like this. What the heck is even this to something like this? The six forms of the three six method. This is a six, by the way, and that then in case you're wondering, just want to sort of clarify that. Here are the six forms that I add on top of the three to make the face look all fancy. First is this wiser form that goes on the forehead. Think Cyclops would make it more fashionable. And then I use this wedge like form for the cheeks and nose job that is slapped on top of these two things. And then a ball for the mouth because you need a ball and then a semi spear like thingy for the chin. And then the good old fashioned years which pops out like satellite dishes for gossip. Now, once you start seeing these forms, you'll start to see them everywhere in real life, in photographs, in references, in your bathroom mirror at 2 a.m. in the morning. And honestly, there are complex ways of drawing the planes of the face. Well, but I've found that 90% of the time this method works like magic. With that, we move to step three, the eyebrows, eyes, nose and mouth in that particular order. Now we just need to add the features. But where do they go? Well, the eyebrow first actually sits on the edge of the ridge, the visor like shape that we defined. And then comes the eyes. They're like literally on the half half of the face, like literally half of the half of the face. And they're like balls, essentially. And you put those balls and then they just slap some two flaps on top of them called eyelids. And then yeah. And then the lips, they're like butterfly wings sitting on two soft meatballs. That is the structure and the form. And where you place them is simply on the bottom middle of the third half of the face. And then the ears, they're like fleshy flaps that pops out like overconfident pizza crust. That's where you put it. Once you get those things, it's time for play and style. I've got the base right. I've got the base planes right. I've got the features in. Now this is the part where I go wonka wonka wild wild. Once I've blocked in all the forms, I stretch, squash, warp, morph the features to get different combinations and styles and personalities. Each form is like a momo. Yeah, like a momo, the dish. It's like soft. It's squishy. It's moldable. It's very tasty. If it's steamed, it's very healthy. And your job is to play with these momos. If you didn't think drawing faces and Chinese dumplings were not related, welcome to my brain. The key is to actually treat each of these single forms of the 3-6 method, right? There are three core forms and then there are six additional forms like clay, like momos. And you push, you pull, you squash it and boom, you get a character. You get a new shape. You get a new form. You get something that is absolutely freaking new. And that creates the uniqueness of the face. And then that helps me draw something that is completely out of blue, out of my imagination, which looks weird, wonky and shows my insanity. That is how I style things. Step five, adding shadows and elements. This, by the way, is just like an ordinary step. You know, it's like knighthood. Doesn't mean anything. So here's what I do. I add first the shadows in the right places, mostly under the nose, under the eyes, around the jaw, under the jaw. Doesn't matter at all. Depends on the source light, by the way. That's why you need to treat these forms as forms, three dimensional forms so that you can actually determine where the light falls and where the shadow falls. And then I also play with cool elements like tech gears, markings, battle scars, eyebrows that scream don't mess with me, bro. Something like that. And then ratios just to make things look weird and appealing and appealingly weird. I do all kinds of things to my face. I mean, drawing, drawing face. Just just say. And after this chaotic mess of a process, I get a face. This is how I draw a face. Stylized face. Five steps. Not so simple. Sometimes will confuse you. But this is how I do it. And here's another thing. In my honest opinion, if you're just starting out, this might not help you. I just shared all these things so that you can get an idea of what the process might look like. If you're a beginner trying to draw faces, don't jump into face anatomy like it's an episode of Grey's Anatomy. Start with simple chibi heads. Simple stuff. Start with a simple head form for the skull, a simple jaw shape, dots for eyes and cute little bean mouths that everybody seems to hate. Think of these things as baby steps. The first step in your journey of learning to draw more complex and complicated heads. These small, sweet, cute little chibi heads then can be evolved into slightly more complex heads and then eventually intense heads or characters with tragic backstories. But it all starts here. It starts with this tiny little exercise. If you want a simple draw along on how to do this 10 minute draw along, check out the links down below or you can just download it right here. It's free by the way because I'm nice like that. With that said, you look pretty today. Put on some makeup. Draw some weird faces. I'll see you next time. Bye