Okay, let's do the nose from the front point of view. So the first step is to block in the plains. With buying charcoal. Basically, I'm blocking in and delineating the planes and the basic book boundaries between dark and light. So that's what you're seeing here. The vine charcoal is really easy to use, because it's, you can erase it with your finger.

So it's a little tricky to use, but it's really easy in the sense that you can fix mistakes, just wipe them away. So you're not committing yet to anything. Then the second step is to take up like a to b or four B charcoal pencil and then reinforce the plains and boundaries between the dark and light families. Right so that it doesn't just wipe away, we're going to go ahead and commit to what we have laid out here. So I'm just looking for the shapes and proportions. And then this third step is to lay in kind of a flat wash, so to speak.

I'm almost thinking about it like, like we're painting. And I'll do that in vine charcoal just laid out, maybe a 30 to 50% gray. Okay, and that's kind of a prep for painting because you'll paint out of the gray, which is a recommended technique. Okay, in this fourth step, I'm going ahead and putting in my darks not completely black, right. I'll say the black accents for the end. But again, with the buying charcoal, just filling in my darks and just seeing my design, designing my shapes Seeing if the proportions are correct, and so on.

And so from here on out the drawing is established, I'm not going to do any major changes. The other step here is putting it a half tone in the light side. And it's just a another value in the lights. So I've got three values now. I have a value for the darks and two in the lights. And now I'm going to go into the shadow and start to sculpt out the air passage, wait, the septum, the shadow and kind of start making things 3d.

And I'm using my black accents now, in the shadows. You can use your finger just to wipe away Buying charcoal and I'm picking out the highlight just to see how that looks. That's the funniest part. So I try to hold back until the end to do that. Mixing the vine charcoal with the charcoal pencil is really, really like paint to me. It's close to being paint.

So it's fun. So if you're a little hesitant about painting, just work this way, without the really the bother the trouble of color, figuring that out and just work with values. And think of your charcoal as paint brushes. Your finger is a cheap paintbrush, the eraser is white, and to start kind of sneaking up on painting or the idea of painting if you're interested in that so you can Tim going back in For them always establishing something gets wiped away. So I have to really re establish it especially the, the planes, the boundaries between the planes. I'll have to darken those up numerous times as the as the drawing builds up and then I'll use that charcoal pencil to crosshatch and refine some of these shapes now, or some of these forms actually we find the forms, the subtle changes, and definitely in the, in the darks and in the half tones in the lights.

I'll try to really start to work the subtleties so that it looks like a nose. You can see I did the root of the nose comes out of the club Ella also hinted at the eye sockets. So it's connected. Connection is the is your friend. Connection is what we're all looking for, right in life. In science, in art, in music, it's the connection that really gives it meaning.

So you can see there's that side plane that connects the nose to the cheek, where the air passages are. That's very subtle and tricky, so I kind of have to look at it a lot and wait. During the course of the painting, just kind of wait until I feel like istat really bringing that part home making it clear. It's the hardest thing to do because it's not very clear in general, on the human face In photos, you can see that just the needed rubber racers great for picking out highlights. Kind of resist reforming shapes getting the ball of the nose, so it starts to turn more. At half total is crucial for that in the core shadow is crucial for that as well.

Like I said, the nose connects everything. It's right in the middle of the face that connects the forehead, eyes, cheeks and mouth together. You'll have all kinds of different shapes and sizes of noses, different nostrils, streets, curves, broken noses, crooked noses, noses that tilt up kind of like a cute little girl kind of nose and you could have the Wicked Witch knows that we all know what that is the Italian nose I'm using the torture Leone to that's that paper wrap to a tapered and that looks like a you know kind of looks like a pencil that has no lead but it's paper and you can smear around the charcoal really good with that. Get some subtle effects there And then cross hatching with the, with usually a hard charcoal pencil like a B. HP is a little bit too hard but a B is really good.

And then there's some bounce light in the shadow is a little too flat and a little too dark and flat so it just looked a little dead in there. Can here's my 3d form analysis. Again, we sculpted out the boundary between the darks and the lights and the plane changes. And then you've got the wings of the nose which are just reduced down to circles and the ball the nose again, which is a circle and the septum extends off of that. Alright, let's move on to a three quarter nose view.