Achieve a tired look by drawing the eyes nearly shut—the irises seem to want to roll back under the lids. Little "bags" under the eyes really emphasize the look. Notice the limp mouth on each character.
Have you ever just wanted to crawl under a rock? The embarrassed character's eyes are turned away. Either she is afraid to make eye contact, or she'd rather not show her face. Here the brows can go way up. Don't forget to add some blush to the cheeks. A blush, more than any other detail, gives away the feeling of embarrassment. A few hatch marks convey blushing just fine if you are working in black and white. As for the mouth, you have some room to experiment. Often a big sheepish grin will do the trick, or try a small rounded mouth.
Now that you've got your heads straight, it sure would be nice to have somethingfor them to rest on, like shoulders or a whole body. In this chapter, we'll examine what goes into the construction of a human figure from an artist's stand point. We'll take it a step at a time.
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