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Let's break down the structure of the nose and its simplified model, before moving onto the details. We'll simplify it again. The structure of the nose is a bit more complex than other parts of the face, as it involves not only bones and muscles, but also cartilage, which creates many details and curves on the nose. These features also shape the adjacent parts of the face
First, let's construct a box for the nose, so that the nose does not extend beyond its boundaries. Let's mark the main structural parts - a line that will become the break in the form - from the top to the bottom of the nose and the bridge (which will take up 1/3 of the entire horizontal space of the box).
Let's connect these lines to create the bridge and wings of the nose, even if they are still triangular for now

We will change the shape of the nose by altering the line at the top to an oval, as this is the cartilaginous, softer part. The oval can be slightly larger than the bridge of the nose or aligned with it - this depends on the individual's facial features.
Next, we mark the gap between the nostrils. It is small, but its width is easier to determine when considering that its width slightly increases as it forms the base of the nose to the upper lip, reaching the peaks of the upper lip. It's important to consider the proportion of facial features

Next, from these points, we draw slightly upward commas that will become nostrils. If you "lay" these commas on one horizontal line, you will get an African nose. In the case of an upturned, hooked nose, the round parts of these commas will go up. After that, we outline the wings of the nose. Make sure they don't become too fleshy - this is also cartilage. It's better not to stick to the original shape and make the wings of the nose smaller than to try to use all the distance and get something disproportionate to reality.

Now let's move on to the color

Fill the entire shape with color.
Note that when further shading, the sides of the same flare should remain wide, not narrowing from the bridge to the wings of the nose, resembling a pear. This is one of the common mistakes.

After it dries, add a darker color on both sides of the bridge of the nose and on the lower part of the nose, including the shadow cast by the nose on the area above the upper lip.
These shadows need to be blended: the ones on the bridge of the nose should be blended downwards, while the ones on the lower part of the nose should have their edges smoothly blended. Now, let's refine the details: we need to choose an even darker color to draw the nostrils, the wings of the nose, and the bridge of the nose.
For the final detailing, use a light shade to blend the wings of the nose and carefully outline the oval of the nose tip.
To summarize, the tip and bridge of the nose should remain the lightest parts of the nose, while the sides will be in shadow. However, the most accentuated and expressive shadows will be on the bridge of the nose and the lower part of the nose. Remember that the nostrils should not be two dark holes, all tones in watercolor should be gradually shaded.
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