Face Elements

Drawing the Eye

Step 1 - The Initial Line Drawing

There are two things that you should carefully observe when starting your drawing of an eye:

1 - The difference in shape between the upper and lower eyelids.

2 - How the upper eyelid covers the top of the iris. (mouse over)

Step 2 - The Eyeball

There are two main elements to consider when drawing the glassy surface of the eye:

1. A bright glint of reflected light should be left as unshaded paper at the start of the tonal drawing. This will become the brightest element in the eye. This reflection is further enhanced by its contrast with the pupil - the darkest element in the eye.

2. The iris contains a variety of tones and flecks which radiate to the centre of the pupil. It is usually darker around its outside edge and lightens towards its centre creating a translucent effect.

Step 3 - The Eye Socket

The final step is to render the solidity of the eye socket and surrounding area using graduated tone.

The upper eyelid casts a shadow which forms a dark curve across the top of the eyeball. This gradually softens into the shaded areas at each corner of the eye.

Graduated shading is used to cover the outline detail and build up the tone of the eyelids and surrounding area.

Eyebrows and eyelashes are formed by soft, delicate hairs, so draw these lightly and pay particular attention to the direction of their growth.

 

Drawing the Nose

 

Step 1 - The Initial Line Drawing

The nose is formed by a series of curved planes. This makes it difficult to draw as there are very few lines to help us describe its shape.

Start by drawing what you can see, namely the inside and outside edges of the nostrils. Then try to outline the main areas of tone that define the planes of the nose.

Draw these lightly as you want them to disappear under your shading at a later stage in the drawing.

Step 2 - The Initial Tones

Simplify your shading into three basic tonal areas - dark, medium and light (the white of the paper).

Block in each plane of the nose with its appropriate tone. This should begin to render its three-dimensional form.

Step 3 - The Final Tones

Carefully refine the strength and subtlety of the tone, softening the lines that join each plane with graduated areas of shading.

You must look more closely at this stage to try to discern the faint variations of shading within each area of tone. It is this close observation that will take your drawing to the next level.

Drawing the Mouth

Step 1 - The Initial Line Drawing

The mouth is the second most expressive feature of the face. Great care should be taken in drawing its shape as it is a key element in achieving a likeness.

Start by drawing the subtle shape of the line that is formed as the lips meet. This will create a natural expression for the mouth.

The top lip has its characteristic bow shape which varies considerably from person to person. The bottom lip is usually larger than the top and more creased with vertical stretch lines.

Step 2 - The Initial Tones

The upper lip slopes inwards and is normally darker in tone as it is shaded from the light.

The lower lip is more fleshy with a stronger muscular structure. It tends to catch the light and is further distinguished by the shadow below its pouting form.

Step 3 - The Final Tones

In the final stages of drawing the mouth, tone is used to soften the edges and refine the detail. Not only should it highlight the surface texture of the skin, but it should also make you more aware of the muscular structure that lies beneath.

There is a subtle softening around the edges of the lips which helps to blend them comfortably into the face. Note how the detail at each corner of the mouth diffuses into a small area of tone.

Drawing the Ear

Step 1 - The Initial Line Drawing

The ear is a complicated arrangement of ripples and folds of flesh.
You need to organise its irregular shape into some basic forms that are easier to outline.
You can then use this linear framework to gradually build up its complex form with tone.

Step 2 - The Initial Tones

Simplify the tonal structure into three areas:

1. Areas that are mostly light - Leave these unshaded.

2. Areas that are mostly dark - Shade these with a mid-tone.

3. Areas that are extremely dark - Shade these with a dark tone.

Step 3 - The Final Tones

Look deeply into each area of tone and try to pick up on the subtle variations that lie within.

You may have to darken some of the light areas and lighten some of the dark areas to achieve a balance of tone.

Tonal drawing is simply a balancing act between the elements of light and shade.

In fact, all drawing is a constant balance between your observation, your concentration, your judgement and your technique.