How to Draw the Believe Face #BigArtQuest #aboutFace #2a

(OPENING MUSIC) HELLO MY FRIENDS IT’S TIME TO TURN THE KEY RELEASE YOURSELVES AND PAINT ALONG WITH ME, YEAH IT’S NOT ABOUT PERFECTION IT’S ABOUT THE CONNECTION NOW PUT IT ON YOUR CANVAS AND LET IT BE Cinnamon: Hello Facebook, how are you? Are you ready to learn to draw our faces? (laughs) I hope so, because it was certainly a journey… getting to you today, to share this art lesson on how to draw a believe face. On the mic today is my husband John. John: Hi guys Cinnamon: He has been behind the scenes discovering that there’s updates, that have happened overnight. (laughs) John: There are updates. Cinnamon: We had to change our plans. So, if you came from the Big Art Quest Facebook Group, that is a private group for the Big Art Quest, About Face… and you made it here, congratulations. I know it was a journey, we wanted to be in there to do this broadcast, but we’ve learned that we can’t. But we’re still gonna be in our private group sharing our artwork privately. (Laughs) You know, as planned. Nothing else is changing. It just looks like we’ll have to do these lessons these drawing lessons from this location. Then we’ll share them in the group. They’re all gonna remain up online… if you’re at work or someplace, and can’t join us ya know, or be driving… don’t join us while you’re driving Ya know, be safe with your phone. Don’t join us while you’re wrestling tigers, ya know wait til later. Drawing is… there’s always time for drawing later. So, that’s what’s going on there we’re actually from the Big Art Quest Group, but we’re over here on the Art Sherpa page, because that’s what has the publishing tools is what we learned. And I’m gonna show you how to draw a believe face. A Believe Face So, a Believe face is the basic face. There’s two kinds of faces, in art… there is this sort of symbolic, esoteric face that you learn to draw where you understand the basic proportions of the human face and shapes, and you put these ya know… features arranged together aesthetically and you create little narratives and this gets very complicated. It sounds real simple, but actually this art world is very, very diverse, it generally represents artwork like this, and then of course there’s representational realistic faces. I believe, that it’s very hard for people to jump in, to art… uh… without the Believe Face step I think what happens for some people is, during their art journey, as they’re coming up… they kinda learn how to do this type of face. And they get to art school, and then everyone in art school says, “Only draw what you see…” “Only what you observe”… and so you’re in there just drawing what you observe and you make that transition but you have a belief in your head that it’s possible, because of this basic face. So, these first quest faces that we’re doing on Youtube… where I’m showing you how to do these paintings for the About Face Quest, are gonna be based on that. When we get a good fundamental understanding of how those objects are laid out, and we’ve created some fun stuff that way… then we’re gonna start going into these more representational, realistic faces but based on a foundation of… oh, I can draw it, I can paint it, I get it… I understand how it’s built I got this How is everybody doing today? John: Oh my gosh, so good. I see a lot of our friends here. It’s pretty good, we got a pretty good crowd we’ve 130 people here already, and I see lots of our good friends, I see Summer, and I see Connie and Paula, and Terry… lots of our friends are coming and hanging out with us today. And I saw Mark here earlier … Say hi to Mark and Michelle. Cinnamon: Mark’s like, “you guys have gotta figure out where you are on Facebook” … I’m sure Mark was John: and there’s Angela & Deborah… Angela Green Cinnamon: Hi Angela Green John: So, and there’s Donna We have such a big crew of people here, and there’s just more and more piling in. Cinnamon: Thank you all for your patience, it’s always entertaining. John: Thank you for the Likes and Shares and the Loves, I love all the Loves Cinnamon: So, when we’re drawing, to all of these lovely people… one of my favorite drawing tools, I’ve got this here, right… and I’m doing some sketches talking about features Right…. is tracing paper. Tracing paper is inexpensive and it lets me do this cool thing, it lets me trace over it. So say I’m doing some drawings … some doodles I’m working on my art skills and I’ve got something I like really well I don’t like anything else on the page, but I’ve got that… One of the things that I can do, is put the feature that I like underneath, and go over that… I can save that. I can preserve that. So, I keep tons of these around and that allows me to design in a very relaxed space. And the key here, what I really want you to focus on is your relaxed designing space. The other stuff we’re gonna focus on, over here on the pallette, we’re gonna talk about pencils- tools. So, everybody knows a number 2 pencil. Right, this is from school. It’s a … ya know, it’s a HB, that’s the hardness. There’s a hardness scale…of hard to soft. And I talked about a 2B pencil. John: To be? Cinnamon: Or not to be. That’s a good start… my favorite is the 4B. It’s just a slightly softer, look… see how much darker it can lay down? It’s a softer lead John: That’s a 2B? Cinnamon: That is a 4B John: A 4B Cinnamon: The 2Bs… I have this little pencil pack here, it goes from F which is super hard and H and hard and 2H and HB and all into the Bs… all the way to an 8B, which is gonna be like butter. Like buttah, John. John: I see Cinnamon: The harder a pencil, the sharper a point. I’m gonna guess, even, by the point… oops I came close, it’s a 3B Sometimes I can tell by the point John: So they hold the point longer Cinnamon: They’ll hold… the harder they are, the harder they’ll hold the point, but then they won’t um… okay, goodness gracious …come out pencils (laughter) These are inexpensive. You don’t have to have the craziest tools in the world. And remember some great art has been made on lined paper. There it is… there it is John: I’ve made a lot of lined paper art. Cinnamon: I have studio gnomes and fairies and they take my erasers… especially my kneading eraser which is probably, I’m gonna… I have to keep a stack of these around… like a jar. So, these are my little drawing tools right… here’s my little 2B pencil. You can see that it’s a little more substantial than say, my HB but, it still holds kind of a nice point. So, it gives me good medium ground though I really am a big fan of this guy too. In my erasers… erasers come in this sort of kneading silly putty kinda thing. This is nice because you can shape it and pick up very specific shapes off of your graphite, or your charcoals. Then you have this kind … which is a low… so this is like Art Stroke, these are not expensive but basically this doesn’t leave a lot of those shavings those rubbings. And then of course, there’s this really satisfying one, that leaves lots of rubbings John: The little rubber eraser Cinnamon: Yeah, this is really good for picking up Frisket too just so you know. Things that you have to worry about So these are the basic tools. And I’m gonna come over here, and on my bigger paper, I’m gonna work on my Believe Face, and explain to you what you’ve got to believe. John: To believe… Cinnamon: To believe in yourself. You gotta believe in yourself. This is… oh, just to let you know what this sketch paper is that I’m using here. John: What is it? This is an 11 x 14″ pad Important information on your paper… is the weight of it, 50lb, right? and the tooth John: What does that mean? Cinnamon: So, the tooth is how much, like “scratch” or whatever is on the… how much scratch… how much rough surface is on the paper. So if it’s… this has a lot of tooth see it’s all rough (inside cover of pad) and this is called “Fine” Fine tooth surface In other words, it’s not very rough Quality paper, Bristle is like a really fine surface. Whereas, like, Arches Cold Press Watercolor Paper has a lot of tooth. So I’m gonna come here, and I’m gonna start my face… when you’re doing a Believe Face Like we have for our girl, in our painting. First, you say, “I gotta believe” John: I’ve gotta believe (silly voice) Cinnamon: Your biggest adversary here right now in this… is you Every preconceived idea you have anything you’ve ever said to yourself negatively about drawing … I can tell you the truth is, at some point in your art journey somebody took your crayons away before your friend showed you a believe face. Where you’re like, “Oh, I believe I can draw” and so you just missed this step and I can say that to you, but you’ve gotta come a little bit, this is sort of like your leap of personal faith in yourself So, and know, it doesn’t have to be perfect the first time. You’ve gotta get real relaxed here. So pay attention we’re gonna talk about this in the file in the Big Art Quest Pay attention to your shoulders are they tense? Pay attention to your breathing, is it shallow? or not at all? There’s… I can’t tell you how many artists hold their breath and there’s absolutely no aquatic element of painting… so that isn’t helpful (laughter) … to you in any way… John: You will not be submerged Cinnamon: So breathing… that’s why it’s nice to have a beverage, a little cookie, a little something to help you find your space. So here I am, I’ve got my paper… and I’m gonna do the first part of a Believe Face is an egg oval. Ya know… we all know an egg shape, right? John: Yeah Cinnamon: A little oval our faces can be round they can be narrow … it’s really up to you. And when you’re sketching I’m using light lines and I’m adjusting as I go this is why I love the tracing paper Right? So when I have a shape that I feel like I like… a lot, then I take my ruler. Right, and ya know just be okay with this. See how messy I am? You can be this messy … this is okay because we have tracing paper. We could do this all on our tracing pad, or we can sketch this out and then transfer what we like Right John: Yeah Cinnamon: Once I have this… I’ll use my little T-square but any ruler. You’re gonna come, and you’re going to do a horizontal line, from your chin space to the top of your head. You’re gonna divide the face in half. These are you anchors… this is the beginning of the map Right? This is your features line. Now, I’m gonna divide the face in half again. Approximately in half You don’t have to be completely specific but approximately in half. Right here, new artists draw their eyes. John: Where at? Cinnamon: Right here, new artists always up in this space, up in this vector. John: Why do they do that? Cinnamon: Well, because their left brain is saying, “Hey, this is a face, you know your face” Right? It gives you symbols of a face Cinnamon: and you’re not really observing how much forehead we all have, not just Tyra Banks, but all of us have a lot of forehead John: That’s true. Right, so you’ve got to give yourself a super- model forehead here when you’re doing this. Now, another thing I tend to like to do, is sometimes I like to kind of curve my line a little bit just a smidge To remind myself, that there’s a curve here, and this is just something I will do like when I’m working, just to go… “oh yeah, I’ve got… … this is a ball” Right? Essentially this is an egg shape. Once I know where that is, then I know that I want a nose. My nose is gonna be at the halfway point between my halfway line here, and my chin here. That’s where my nose goes already it’s looking more like a face Isn’t that crazy? It just immediately starts to say “face” and then between the nose and the chin, at the halfway point again I have a little mouth. Here’s a chin… here’s a mouth. So once I know where that is Right? Once I’ve determined … gonna come back in an work this … then the next thing I’m gonna do is create my column John: The Column? Cinnamon: Column. This is how the features line up on a face, when a face is facing you. When you’re being faced with your face, you must create a column. So I’ve got my little line here, that I see, and I remember that my face is curved. Right, you just draw your little cross face. So you can just do either, these are just fun. Right? I need to make sure that in this space here, I don’t put my eyes too close together. So I need about an eye’s width of distance between my eyes. John: Is that where the column goes? Cinnamon: That’s where my column is gonna start lining up here. John: Uh-huh Cinnamon: There’s gonna be little lines, little lines that tell me things. Now, my eye… is on the above line it’s gonna be kind of a half almond shape, isn’t it? This is a base shape. And then I like to carry just a smidge past my horizon line, past my face horizon. And, I’m gonna do the same on the other side, now, for many of you, this is where your first groan is John: Oh nooo (silly voice) Cinnamon: Because you will make one eye bigger than the other eye. John: Isn’t that always the way? (chuckles) Cinnamon: That can always be the way. John: How do we not do that? Cinnamon: Two ways you can not do that. One way is, if you determine how big you made this eye John: You’re using a ruler… isn’t that cheating? Cinnamon: No… (laughing) definitely not cheating Right, so you can be like, “oh, it’s about that big… and then just make sure that you’re about that big over here. John: So you just totally use the ruler. Cinnamon: Or… you can use your tracing paper and flip it. Which is another trick I’m gonna show you guys today. John: Okay, I gotta see that. Cinnamon: Today I’m gonna show you some tricks to just get through this experience so you can start believing in your self. Carry your tear duct line, just a little bit down. This is where your tear duct has to go… So that your face can be soulful, and weepy, if they need to be… Or laughy… it depends. The under of the eye curves down. The eye shape curves down, and back up again. Kind of see that there? John: Yeah, I’m gonna zoom in on that Cinnamon: I’m gonna do the same over here curving down. Curve it down and back up again (singing) So now I’ve got a place for tear ducts right? lids, eyes, all kinds of things. My nose… I love my nose The nose is built off of this big ball right here and its two little friends John: Ball of nose Cinnamon: three little balls… one big ball, two side little balls. John: Perfect. Cinnamon: Okay And then over the eyes I need eyebrows. John: Okay Cinnamon: So I’m gonna come up, ya know right above the eyebrows, and I’m gonna line things up my eyebrows will line up with the outer balls of my nose Believe it or not… Believe John: Now, Rachel would like to say thank you because she always … she echoed this, she said I always feel like I’m cheating when I’m using tricks like when I use a ruler, or folding over the paper. So she really appreciates you saying that those are not cheating. Cinnamon: No! No, the only thing cheating in art… is taking somebody else’s art, and pretending it’s like your own… like Walter Keane, that would be cheating in art… he definitely cheated in art Ya know what I mean (laughing) Leveraging other people, so that you can pretend to be an artist would be cheating. Everything else is, just your artwork. And that’s not even inspiring, I mean I’m saying like, literally like what Walter did to Margaret… totally cheating, right… Pretending that you’re Rembrandt when you’re not definitely cheating in art. But even at some point, we start to respect that guy too… it’s so weifd John: (laughing) So, we want to line things up, so I’ve got my little eyebrows here, coming in the thing about eyebrows, right is they have a nice little curve to them. They can have a lot of different shapes. The trick is… you don’t want to make them too heavy for the face. John; Make the eyebrows too heavy? Cinnamon: Too heavy, too dark… ya know, only when you’re doing a Frida Kalo inspired piece. Or, ya know… if that’s the truth of your eyebrows then you want to definitely tell that truth. So, see how things are starting to line up? John: Yeah Cinnamon: The eyebrow has lined up and this is sort of coming together It’s interesting how it does it, right? Now interestingly enough, the edges of the mouth … will come here, and my mouth is, what I do is I go… a little ball… and a big ball. I like my little ball and my big ball above my chin (singing) And then I know I’m gonna have a little smile coming out this way. So how I do this, is I curve up and curve down Little mountains Curving down… and we’re gonna go into these individual features just a little bit more. And I curve this up… and then I just sort of join this mouth down here. And you can see how these things are all lining up together. This column … This alignment, this mapping will help you find your space Now on my nose, what’s interesting, is, I’m gonna come under the nose, curving up down, up… down, around See, I’ve just got this John: Yeah Just a little bit … maybe I’ll just enforce this little bit, shading there. Another interesting thing, that I always like is that even though my nose is gonna curve out to my eyebrow here, my nostril will curve in. And it helps me understand the structure of my nose a little bit. Right, so now I’ve got this, I know where my shadow is, my little nostrils here. I always like to flare them in a little bit. I have flared nostril people. It’s my thing. Enforcing that shadow. Wow, I’ve made a lot of decisions, I’ve got this nice little chin down here and look, if you feel squished you can always, like increase your chin Right? Here we go, here we go. I know where my eyebrows are. I have to have lids though, I’d like a blinking person. John: (Laughing) Cinnamon: and, I really want to say this right now it’s really important to know you will have … and not from a place of not good-heartedness this is just a reality ingrained in you, because you draw the faces that you see. You will have initially, a racial bias as you art. John: sure Cinnamon: It’s a thing Doesn’t mean anything bad. it just means we draw what we’re familiar with. So, if you’re inclined to change the position of the lids, because they don’t look right, or feel right to you uh.. go with it. John: Yeah, it’s okay Cinnamon: It’s totally okay. We’re gonna work out, a tremendous beautiful plethora of diversity in art… when we get into observation. But right now we’re drawing a symbolic face and that’s gonna reflect your community, your family, and the person you see in the mirror all the time and always be like, really kinda okay with that John: Yeah Cinnamon: Right and also, maybe just … remember I went through that thing where, everyone I drew looked like aliens? John: Yeah (laughing) Cinnamon: You go through stuff and that’s gotta be okay we gotta get okay with stuff in art. So now, in my eye… ya know, I’m going to have a nice little circle right, dead… here’s my center line of my eye let’s do… I’m not giving her any particular experience she’s looking right out man, she’s breaking the 4th wall and I’m just drawing this in… I like to leave room for the lower lid here… and we’re gonna talk about the structure of these eyes more, in a second. Right? And so I’ve got this here. So now that I have all of those things… the last thing you want to think about is ears, and … I used to say this a different way, but I really love how Lisa Kehoe said it, which is, that you’ve got to have places to put your glasses John: Oh yeah, that makes sense Cinnamon: So, think about where glasses right, need to be… that would be, they’d have to be right there to fit on her face, wouldn’t they? So, start at the corner and then just loop, down in. And now she’s got nice glasses holders. Just a little bit out and tuck that in… not a big deal. So, you’ve even got those features. What’s your tracing paper for? So, I’ve done all of this lovely work. I’m gonna keep some of it, potentially. Right? See how… there we go, it’s gotta go like this. So, I’ve got this hot mess drawing John: This hot mess… why is it the hot mess? Cinnamon: Well, because it’s all sketchy John: Well, it’s all “sketcherly” Cinnamon: It’s all sketcherly, but that might not be what I want, when I’m trying to transfer this wonderfully thought out image onto another piece of paper. John: You mean, like your $50 piece of watercolor paper? Cinnamon: Like your $50 piece of watercolor paper which is a real thing. So now I can very lightly, go around… pick my favorite lines, pick my favorite shapes from this space. Right? I can go in and be, like, “Oh, I like how the mouth is like this” a little… I always like to give a little mouth crease there I think it just gives some personality. John: A little personality, yeah. I like it. Now, I don’t need my whole nose, but I do need the bottom of the nose. and a little bit here maybe a little bit there, and just sort of shade that under there… ahhhhhhh I’ve got my little nostrils, happening. All right? I’m gonna put in my eyes. Look at how easy that’s starting to go in. John: Now, we’re gonna leave this up on the… Cinnamon: Yeah, we’re leaving it up John: This will be up here on Facebook, and if we have a need, if we need to put it up on other places so you can get to it there as well, we will. Cinnamon: Yeah, we want you to be able to get to this. John: Yeah. So, we’ll make sure we have it available. Cinnamon: and the group will have a file, a PDF about this. John: Of course, you could always go to our website and there’s gonna be a link to The Big Art Quests, and all of those, you’ll be able to find there. So, they’ll always be findable from the website. Cinnamon: We’re gonna try and keep it, yeah very findable and identifiable. John: Yeah Certainly findable from our webpage, and they should be up here on Facebook, and ya know, in several other places as we can. So, thank you all you Facebook people… you know we have like 260 people here just hanging out with us, it’s really crazy. Cinnamon: Excellent. John: There’s more and more showing up all the time. I really want to say thank you to our community here, because they’ve been giving us lots of littlle Loves, the little heart symbols. Cinnamon: We’re gonna take this over here, but we’re gonna have a neater sketch. John: I like all the little heart shapes Cinnamon: Look at the neater sketch John: Oh, oh you did that! Cinnamon: So, I can sit there, now that I have this neater sketch… John: Neater? Cinnamon: Neater… more tidy John: It’s not a neater neater Cinnamon: It is… and just make sure that I have lines how I want them. When I want to transfer it, to some other image like say I want to transfer it to my canvas John: Okay Right, I could work on this for hours. I could take this, right, and put this under another piece of tracing paper and refine this further. John: and this is all okay, this is not… there’s no cheating to this Cinnamon: Nah, this is not cheating. This is not how cheating works (laughs) Putting your name on somebody else’s painting, … cheating, right? (laughs) John: But you’re just using tracing paper as a tool Cinnamon: Yeah John: Absolutely. Cinnamon: and actually there’s a thing if you’re in doubt, like I guess It’s not cheating if you license it. John: Yeah Cinnamon: Right? That’s not cheating, because you acknowledged the artist, and… yeah John: Yeah so there’s, I think that there’s a lot of things Cinnamon: Just Walter Keane… we’re just gonna put him in the back category (laughter) John: Well, I think there are a lot of things that artists, ya know, they get told a lot of things, that tracing is bad, and drawing from a paint… using a photo reference! Cinnamon: Yeah, there’s a bunch of artists who think you shouldn’t use photo references, it’s amazing to me, the crazy stuff artists will say are not allowed. John: and ya know, there’s a time and a place for everything… Cinnamon: Didn’t I just have a ton of erasers right there? John: There’s a pile right there. Cinnamon: There they are… I thought the gremlin got me already (laughter) So let me get these over here. Let’s talk about a couple of structures. First, let’s talk about the nose. John: The nose. Cinnamon: I need to give myself a big ball (singing) John: It’s coming in. Cinnamon: and it needs a couple of small ball friends. I will kind of, sometimes angle my little eggs in a bit, but really you’re just talking about this and then following that line. John: Okay Cinnamon: and then I like to loop back for the nostril. Right, and shade that in. Now, we all know that under our nose is a little divot John: Um-huh Cinnamon: Divot, divot, divot And very often, there’s a bit of a shadow cast from that and then this is, ya know this is kind of a ball. And noses can be … noses can be rounded, noses can be pointy These faces, are just about expressing the relationship of features. As you become familiar with this basic Believe Face, You can play with the features and, make the eyes bigger or smaller, make the nose smaller and more diminutive, make the mouth bigger. You can sketch looser, you can do a lot of things You’ve just gotta get comfortable and seated in… I divide my oval in half, I divide my oval in half this is where my features go. The lips… I like to do a little ball, right here and then it needs to have a nice bigger ball as a friend. Lips are like inflated tires John: They are? Cinnamon: They are. Why are they? Is this like… Cinnamon: Yeah, they’re really round, they’re rounder than people think. So, just come underneath this ball, I curve up, I curve out… … I curve up, I curve out… and we’re gonna go into just, even features more as we need to. Now I’m gonna curve, go up… there’s my little mountain, it curves in doesn’t it? Let’s give ourselves a little, I always like to give a little dimple. These are idealized, weird little lips. Right? And then I’m gonna come down here. But you can see that it gets real easy John: Oh wow yeah. Cinnamon: … to do them once you know. Right? Once you know… once you know (singing) So those features are not hard to do. The eye… John: in no time you could be covering “Yes man” …right, is like this, it’s just this little curve, right? Like a little bow. Give room for the tear duct. Curving out, curve up from the tear duct and out. Eyes have to have some stuff here. They need a little tear duct space… right there. I like to go ahead and include the little lid line underneath here. When I put the iris in, right… like I did right here I’m gonna put that in… I’m going to put in the pupil Shade that in, shade that in (singing) Right under here I like to make my pupils a little bit bigger, thats a thing I tend to do This, will generally have some type of shadow because the lid overhead is generally casting a shadow. See the shadow? John: I do. Cinnamon: It’s an important element when you’re drawing faces. Right, shade that in. But I need some light reflection there. This is all a ball inside the socket. So, you’ve gotta shade it in the same way you’d shade a ball. And you’re gonna have a lid, with a crease. It could be deep… could be shallow. Right Lashes are, flick, flick, flick, flick I really like to make sure that they’re shorter here, and longer as they come out. See, they’re gonna flick out the other way, and then kind of curve down. Kind of bow out, and also get shorter. A lot of times when you’re doing realistic, is they’ll get right on you… they’ll kind of even change direction a little bit and curve out that way. See, that’s a weird little thing that they do. Eyebrows. Sketch them in lightly. Right? Here, I’m gonna do this one more of an arc back brow. Do, da, dooo (singing) And then you’re gonna taper those strokes as you get here. You’re not gonna really take it much past those spaces. Here’s your eyebrow. If you’re in makeup, a lot of times these will become easier for you. but if you’re not, you can still pick them up. And we’re only talking about female faces here right now too. We haven’t even gotten to the guy faces. Where things are squared out more. But they’ll still be in their… they’ll still be in their column They’ll still be in their relationships. So, when we’re doing… here, let’s go back to her Suddenly how she was built makes a lot more sense, doesn’t it? John: Ahhh, yes. It does. Cinnamon: Right. Then we add things like, interesting hair … and maybe unusual color. We’re going to be… the other thing that these faces are gonna teach us… and we’re gonna do these for just a little bit, so that we get this down. Because, when we learn to batch mix her skin tones Right? That’s gonna help us when we get to realistic faces too. She is the basis of us getting to realism. When we master her, and her friends… Then when we take on a more structural piece, where we’re just observing light and shadow… our brain is going to be relaxed enough, and in a state of belief, enough that it will get out of our way and just let us see our nostril as we’re seeing it. So, we’re gonna work on profiles, we’re gonna work on three-quarters. We’re gonna work on looking up… looking down, surprised expression, angry expression… Diversity of age, gender, and race. Because, there’s a whole thing that happens with the face. When kids are young, everything is all shortened up. I age up all my kids, it’s like totally my struggle. Give me any kid to do a portrait of, and I add like, two years. John: So we’ve had, I’m gonna tell ya, we’ve had this huge group of people who have joined us today We’ve had a huge number, and everybody Shares and Likes, and the little happy faces… and I love them, and thank you guys. It’s just been so… don’t forget to hit “MORE”, because this is gonna be going on. Cinnamon: Yeah, this is … this is ongoing. And you have a mini-quest for this. John: Yes. Cinnamon: Which is to do little… like a couple of inches.. little Believe Faces. Just a bunch of them. John: Okay. Your trick for this, when you’re doing this, is… fill up a page, just practice this thing… make your face, divide it in half, divide it in half, put an eye … is to stay relaxed throughout the process. John: Okay. Cinnamon: Don’t get tense about it . And if you feel you’re being tense, and this is gonna be in our PDF pay attention to where that feeling’s coming from. What internal narrative is happening, that’s causing you anxiety. Because you are drawing. John: uh-huh. Cinnamon: Whereas kids know, “I’m gonna draw now to relax, I’m gonna doodle now to relax.” Sometimes, as adults, all of our adult junk gets jumbled up in our relax time. So just pay attention to what, ya know you might be saying to yourself, ya know and then if you find yourself just really in tension just like, specifically relax your shoulders, Breathe in deep (inhales deeply) and just remember, this is just the fundamentals of art It’s just fun. Nobody’s gonna come in and grade it. In the Big Art Quest Group, John: Yes Here’s why there’s resrictive posting… John: Okay, let’s go there… Cinnamon: All right. So in there you will have noticed there’s a file about what you can post. And it’s supposed to be for the Big Art Quests. And, really specifically, about like your original work relating to the Big Art Quests. You can do 2016, or this year (2017) John: It’s because we’re all questing together Cinnamon: We’re all questing together, and I need to see your stuff. John: And this is where we do it. Cinnamon: Yeah I need to be able to see your faces as you’re doing them. I need to be able to go through there, and get through it. So, there’s the Art Sherpa Official If you have other tutorials that I’ve ever done, John: Yep Cinnamon: That you’ve really loved John: Yep There’s here, right now on the fan page, just post whatever you like on fan page John: Yeah In the Group, the Art Sherpa Official Group Post tutorials, and your original paintings But Big Art Quest, try to keep it to this journey and last year’s journey, so I’m seeing what you’re doing It’s the only reason that I’m restricting the posting, John: Yeah Is I just need to be able to see what you’re doing so I have a chance to… like.. if I’m not hitting something, if I’m not explaining something You guys will think it’s you, but I’ll be like, “oh it’s me” and I’ll see it, and I’ll be like, Oh I’ve got to go over that again John: and of course, all that stuff is findable there at Oh, you can find it all at, you can find all that stuff referencing back We’ve got links to everything. Cinnamon: Yeah, links to everything So you’re like gosh, there’s so many places to go to see you John: Yes Cinnamon: So there’s THEARTSHERPA.COM For that sharing experience, we have the Big Art Quest, About Face… on Facebook. John: Yes For the sharing experience, we also have The Art Sherpa Official Facebook Group, and we have here… and then at THEARTSHERPA.COM also just, we have… we have so just upload what you like. There have been people who, in The Art Sherpa Official uploaded 180 something pictures. John: Yeah, we just … we get… you can upload as much as you want onto our website, THEARTSHERPA.COM We have a huge space out there, the chat’s going We’ve got all sorts of games and fun stuff, for you guys to come and play with Cinnamon: So, we do want to see… and it can be stuff from other tutorials, and stuff like that… it doesn’t just have to be, that’s about your whole art journey. We just want to see whatever you’ve got going on in your art journey. Big Art Quest… Try to keep it to the Quest, and original work related to the Quest. John: Yes Only because I just want to see what you’re working on Does that make sense? John: It does. Cinnamon: Do we have any questions? Before we go anywhere… John: You know, everyone just wants to say, how much they appreciate and they love seeing this go on. They really love that we’re doing this Face Quest together, and that we’re doing it here on Facebook… they love your hat… they think the hat looks so cute today. I thought … it is the kitty kitty thingy John: It is the kitty kitty thingy and they love, they love the pin, on the hat Cinnamon: Well, ya know… John: (Laughing) There are times it feels like, trippy, doesn’t it when you draw, and you’re like, whooo John: Now, we’re gonna leave this up here on Facebook so people can get to it Cinnamon: Yeah, this is gonna stay up, these drawings, and we’re gonna keep visiting this. We’ll go back and visit noses again, we’ll go back and visit eyes again, we’ll go back and visit lips again… we’re gonna visit shading, and how we shade it and how we find lighting. While we’re doing these very safe Believe Faces And we’re gonna learn how to rock these out… John: Yes Cinnamon: You’re gonna be dropping these in all the face groups There’s so many face groups, you’re gonna have so much use for this socially… You’re gonna be like, “I can face here… and I can face there… and I’m gonna face this and face that” and you’re gonna feel really confident, wherever you’re going, wherever you’re sharing So, we’re gonna cover these This is tomorrow, on Youtube John: Tomorrow Cinnamon: This is tomorrow on youtube that we’re painting that. John: Wooo Hooo! So, we’re gonna paint that, and yes, there will be a traceable. If you’re not ready to jump in and sketch your own on the canvas, don’t worry, we’re gonna do a traceable. Because, tracing’s not cheating. John: No. Cinnamon: And drawing is a skill we’re learning… we’re developing over time. The file PDF is going up in The Group and on the website later today. John: Yeah. So… Cinnamon: Am I explaining everything? John: Yeah, you totally are Cinnamon: Sometimes I feel like, I have this plan I have these big ideas of sharing art, or of sharing art information, and then I’m like and then we’re in it, and the tech is crazy… and the stuff is crazy. John: That’s okay, because this is just, ya know this is the first one, and we’re gonna be doing more. Cinnamon: I’m gonna say this again, I’m gonna come over to the pallette cam John: Okay. Cinamon: Holding your pencil… can be very challenging. John: Last minute tip… Cinnamon: Yes. Do not cramp up your hand, don’t get back here. John: This is why you stay til the end folks (chuckles) Cinnamon: Be very, very relaxed If you’re having pain in your hands, shaking in your hands tremors in your hands… anything with your hands There are a plethora of pencil grips … usually at the school supply store, John: Oh yeah, that’s true. Cinnamon: Right, but there’s rubberized ones there’s all of that, you can put them on Ensure your comfort. Be comfortable when you’re drawing. Don’t let that tighten up your back. Tighten up your neck, tighten up anything. You want to keep those shoulders rolling Everyone’s like,, “how do you do this all day long, all the time?” I keep these shoulders rolled out. John: Yeah Cinnamon: Keep it loose, man… loosey goosey So, that’s just my tip to you, because I remember in we’d be in art school, we’d be like all tightened up We’d be like this… and draw this thing… and the teacher would come by and …whack. John: Let me see the bottom of your hands all covered with graphite (laughs) Cinnamon: My goodness, when I was in charcoal because i love charcoal… remember you gave me it, in my charcoal phase John: Yeah, it was just like charcoal everywhere Cinnamon: It was like dating a chimney sweep, I swear Picturesque (laughing) (Both Laughing) Just covered in graphite All right. So, be beautiful to yourselves. Believe in yourselves. Fill up those pages, doodle up some Believe Faces Just fill ’em up… fill them up until you believe that you can at least just kind of do this structural face. And it doesn’t happen in the first face, it will happen somewhere between now and an number of faces. Where your brain will stop giving you grief, and go “Okay, okay, okay, I’ll let you face it.’ John: Uh-huh. Did we do good? John: Oh, we did great. I believe you guys can draw… I look forward to seeing you again soon. Cinnamon: See you tomorrow, on Youtube Painting this (laughing) Love you! Bye-bye (CLOSING MUSIC)

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