CHAPTER SEVEN

THE EYES
Eyes are beautiful! They are my
favorite things to draw. An entire
drawing can be made around a
single eye . In the drawings below,
you can see the eye is just shapes.
An eye looks more like puzzle
pieces than any of the other fea-
tures. I have numbered the pieces
to help you see the various parts
that make up the eye.

1. Iris
___- -- _ 11 2. Pupil
3. Catchlight (or
2 flash)
"'-----'r-- - _
See how this eye is looking at you from 4. & 5. White of
an angle? Because it is turned, you see the eye
a lot of the white of the eye on the left 6. Upper lash line
of the iris and hardly any on the right. 9 7. Lower lip thick-
Also, see the lower lid thickness below ness
the iris? Notice that eyelashes on the 8. Upper eyelid
10
bottom come off the lower line, not the 9. & 10. Corner
one next to the eye. eye membrane
(tear duct)
11. Eyebrow

Note: You will notice that the

"catchlight," or flash, is half ill the All of these
pupil and half ill the iris . No matter shapes can be
how many catchlights you see in 6 seen above in the
your photo, your drawing will line drawing of
look better if you only use olle ill the eye. Try very
each eye, and placed in that posi- hard not to look at
tion . This is the only time I stress the eye as one dif-
"cheating," by 1I0t drawing what ficult shape, but
you see. (Artistic licensel ) instead as eleven
easy shapes.

36 DRAW REAL PEOPLE'

EYEBROWS AND LASHES

1/
The line on the left looks hard and Eyebrows can be large or small, thick Start to apply little hairs. Look at the
straight. The line on the right is softer or thin. Just draw the overall shape direction they are growing in the pic-
and curved. It was drawn with a qllick first. ture and apply your pencil lines in that
stroke. Flick your wrist and the line will direction.
become thinner on the end.

.
'1.,/1 '
Continue to draw hairs until they start Add hair strokes again, until it gets as To soften it a bit, take your kneaded
to fill in, and then take your tortillion dark as you want it. eraser, put it into a point, and with the
and blend the whole thing out. same quick strokes, lift some light hairs
out. It is this finishing touch that really
helps make it look real.

Never just fill in the eyebrow with This is better, but the lines still look These lines work. They are curved and
heavy dark pencil lines. harsh and too straight. tapered at the ends, more like hair
really is.

Eyelashes should not be drawn with This is the way eyelash lines should be Eyelashes grow in clumps like this.
hard lines either. These lines are much drawn, but eyelashes don't grow in sin- Watch which direction they curve
too hard and straight. gle lines like this.

Don't ever draw a line all around the This is what lower lashes should look
eye with lower lashes like this. like. They come off the bottom of the
lower lid thickness and are shorter than
the upper lashes. See how some of them
are shorter than others? They, too, grow
in bunches.

THE EYES :J7

DRAWING THE EYE STEP BY STEP

Graph this eye out on your drawing Not only do you need to see the eye as Remove the graph. Lightly draw the
paper. just shapes, you need to see the shapes circles in the eyes by hand. Then crisp
created with the graph lines. This is up the circle with the stencil. If you are
where you will use your circle tem- drawing two eyes, remember to use the
plate, or stencil. The iris and the pupil same circle for both eyes. The catchlight
are perfect circles in nature. The reason should be placed half in the pupil and
many drawings of people don' t look half in the iris.
right is because the eyes aren't drawn Start to fill the eyebrow with pencil
with good circles. strokes and darken the pupil.

Add some #1 dark around the outside Blend out the iris until it is a #3 half- Lift some light out of the iris with your
edge of the iris and around the pupil. tone. Don't lose your catchlight! kneaded eraser to make it look shiny
Blend out the eyebrow. and enlarge the catchlight.

#1 #2 #3 #4 #5

Fill in the lash line #1 and #2. (It is The finishing touches! Blend some tone
lighter in the middle above the iris.) above the eye. Soften the lower lid
thickness. Blend a little into the white
of the eye to make the eye look round.
Pull some light hairs out of the eye-
brows. This eye doesn't have many eye-
lashes showing, just a few coming off
the sides:

38 DRAW REAL PEOPLE!

66EYE DO" (AND DON'T!)
Here are some guidelines to re-
member when drawing the two One eye width
eyes together:
• The distance between the eyes
is equal to one eye width.
• Draw a line from the inside cor-
ner of the eyes and you have
the width of the nose. (This
is a general rule and doesn't al-
ways apply to all races.)
• Draw a line down from the cen-
ter of the eyes and you will
usually have the outside corner
of the mouth (that is, with no
smile).
• Eyes are in the middle of the
head! Don't draw them too
high . If you measure from the /

chin to the eyes, you will find /

the same distance from the eyes /
to the top of the head.

This is a list of what not to do

when drawing eyes:
• Don 't outline the eyes.
• Don't make eyelashes hard and
straight.
• Don't scribble in the eyebrows.
Watch those shapes!
• Don't draw the iris and pupil
round. Use your stencil.
• Don't forget the catchlights
(these eyes don't have any) .
• Don't have the eyes looking in
two different directions. The
two eyes work together.
• Don't let your blending get
rough and uneven. Remem-
ber-smooth and grad ual.

THE EYES 39
EXAMINING EYES

It is easy to see which eyes are male and which are female. Women's eyebrows usually have more of an arch to them.
Men's eyes differ mostly in the eyebrows. They are usually The eyelashes seem longer and darker.
la rge r and closer to the eyes. See how these actually come
down over the eyelids? Also, the eyelashes aren't as obvious.

Eyes can tell you a lot about a person: .. emotion,

race ...

.. . age, . .. beauty.

See how far the When the eye

eye is recessed in looks away, more
the face when white of the eye
seen from this can be seen on one
angle? The bridge side.
of the nose blocks
the other eye from
your view. The
iris no longer
looks like a full
circle, but is now
a circle in per-
spective, which is
called an ellipse.

40 DRAW REAL PEOPLE!

PUTTING THE EARS
WHERE THEY BELONG
Hairline

One eye width

This illustration shows how the face is looking straight ahead, so it is covered by hair!
face area is divided into equal the ears are at an angle-you can't through magazine picture
parts (from chin to hairline). The really see them entirely. draw as many different e,
eyes and ears are in the middle This is how you will usually you can find.
section. In many portraits, the see the ear in a drawing. Most of

42 DRAW REAL PEOPLE I

Note: Look closely at the ear-
rings. They look like tiny ver-
sions of the sphere exercise, don't
they?

THE EARS 43
DRAWING THE EAR STEP BY STEP
Let's try an ear, step by step. By
now you should have this proce-
dure memorized!

I
Take your graph and place it over the Add your #1 darks where indicated. Add your #2 areas.
above illustration. Draw off the ear on
your drawing paper. Be sure it is
rate. When you feel good about it, re-
move the graph lines .

#1 #2 #3 #4 #5

I
Blend until the whole ear is a gray half- With your kneaded eraser in a point, lift
tone. out some lights to make the ear look
shiny in places.

44 DRAW REAL PEOPLE!

Portraiture - Ears ​
The ear is a complicated arrangement of ripples and folds of flesh.
You need to organize 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.
Simplify the tonal structure into three areas: 1. Areas that are mostly light - Leave these un-shaded. 2. Areas that are mostly dark - Shade these with a mid-
tone. 3. Areas that are extremely dark - Shade these with a dark tone.
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.

Star (What are you proud of?) ...............................................................................................................

Wish (what would you improve?) ……................................……................................................................

Portraiture - Eyes ​
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. (The Eye is not a rugby ball shape!)
2 - How the upper eyelid covers the top of the iris.
Look at the 3 pictures bellow and use them to help you draw a tonal picture of an eye in the box.

Star (What are you proud of?) ...............................................................................................................

Wish (what would you improve?) …………..........................……................................................................

Portraiture - 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 - Tone
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.
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.

Star (What are you proud of?) ...............................................................................................................

Wish (what would you improve?) ……................................……................................................................

Portraiture - Mouth ​
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.
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.
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.

Star (What are you proud of?) ...............................................................................................................

Wish (what would you improve?) ……................................……................................................................

 Map out your face using the example at left.
Sketch in your eyes, nose, and mouth.

1. Choose your face shape

2. Draw the eye-line across the middle
of the face
3. Draw a line half way between the
eye-line and the chin, this is the
bottom of the nose
4. Draw a line half way between the
nose line and the chin, this is the
bottom of the lips
5. Draw a line half way between the
eye-line and the top of the head, this
is the hairline
6. divide the eye-line into fifths.
7. The edge of the nostrils line up with
the inside edges of the eyes.
8. The edges of the lips line up with the
middle of the eye

www.thebutchershop.com.au An Introduction to Urban Art - Drawing the Face Worksheet - Page 3

SKETCHBOOK ASSIGNMENT—FACE!

Due Date:___________

Points per Assignment:______________

ASSIGNMENTS:

1. Complete the EYE, NOSE, EAR, MOUTH, and FACE worksheets using GRAPHITE pencils.

For the following assignments use your face as reference (use a mirror/your phone) Each Sketch should be approximately

life size.

2. In your SKETCHBOOK draw your eyes in two of the following ways: (1) facing forward, (2) 3/4 view, (3) looking away,

and (4) emotional.

3. In your SKETCHBOOK draw your nose in two of the following ways: (1) front view, (2) 3/4 view, (3) looking up or down,

and (4)scrunched

4. In your SKETCHBOOK draw your mouth in two of the following ways: (1) front view smiling, (2) 3/4 view, (3) looking

down frowning, and (4) yelling

5. In your SKETCHBOOK draw your face using the measurement method from the worksheet. Render your face with

graphite, mapping out the value shapes of your face