Shaded Drawing of the Human Eye (intro and tutorial)

Cindy Wider
A free video tutorial from Cindy Wider
Art Educator, Artist and Co-Founder of DrawPj.com
4.7 instructor rating • 3 courses • 10,244 students

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The Complete Beginners Drawing and Shading Course

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10:22:26 of on-demand video • Updated October 2018

  • Use basic shapes to easily construct drawings and outlines
  • Develop a real understanding of light and shade
  • Gain mastery of shading techniques to create the illusion of depth and form
  • Create drawings in one-point, two-point and three point perspective
  • Create a realistic drawing using just six pencil techniques
  • Understand the basics of portraiture by creating a child portrait
English [Auto] In this series of videos on Guiseley leaving you to the wonderful world of portraiture it's a very exciting subject to study and to be able to put together all of your knowledge that you've learned so far in the course and when you're learning to first of all draw portraiture you need to study the facial parts individually so that you understand how to draw the eyes the nose the lips and said Dane. You can also look at the ears and the other areas around the face to face shape separately. Once she know and understand more about the individual features it's much easier to draw for portraying. So what I'm going to do is talk about each individual facial feature the eyes the nose the lips and in the ear in individual videos. So let's begin with the artist. We've now got a photograph of an eye here for you. And when we look at the eye there are different parts that we need to consider. So here we have the little black pack in the middle that little black circle that most of us know is the people then we have the iris. This is at area here. And then there's the watch of the eye. That's the space that's left behind after the eye opens. There's another very interesting thing about the eye that we look at this upward curve here. It actually consists of three big major angles. And when you look at those three angles it makes it much easier to draw them into a curve. So before we begin to draw the eye it's good to break it down into its construction sites. Now when you first of all look at the eye you can really see this latch a circular shape around the arm. And even when you feel up on your head you can feel the bone that creates the cavity that the eyeball sits inside. So we can draw that as a really big large outer ball a big large outer circle and you might remember from a previous lesson that draw a circle or is or a cross. First of all and then you can sketch the circle any size you like. So once you've drawn that big out of ball then you control the tiny ball in the middle and that's the pupil. And the next ball can be drawn in as the iris. And it's really good to draw those balls as four balls right through the center of your cross. And once you've done that you can look at positioning the eye over the top of that and that will hurt which you really get a nice scented Iris and pupil which is very important because your pupil is in the center of the iris. Now there are three large angles that make up the curve of the eye and if you say angles before you drawing a curve it's much easier to draw that curve beautifully. So look for those angles whenever you're drawing the top lid of an eye. Now they usually come from the outside of the eye the first angle just arrives either before or just after the beginning of the iris a new angle just slightly different on various eyes. So look that first angle and where it begins to change the curve into a little bit higher angle. So then you have another angle that comes across the top of the iris and pupil and it gradually travels upwards towards when and when we're traveling in the direction towards the T. But then another angle will travel downwards towards the T adult. So you get this effect you have three angles like that. Now the tear ducts is often a lot larger than we realize. So we can just add the tear ducts on to the extra part they can say that heede the ads on to the wall of the eye so don't forget your teeth but it's very very important. And it's larger than what we realize then for the bottom three angles. They come back in the opposite direction. So you've got a bottom angle first of all. And often that stops just before the base of the iris. Then you travel gently upwards and then upwards a little bit further again like you see here. So Traven gently upwards as we skim past the bottom of the iris. And that's really important. Try not to leave a gap between the bottom of the iris and the bottom eyelid. Because in general unless a person's head is looking right down like that there's not usually a gap between the iris and the bottom eyelid. In fact the bottom of the eyelid just skims across it so that you in effect draw across the bottom of the circle that creates that Iris. See I've come across with an angle and you're fine. That's. Very true. Nearly every eye that you see there are course lots of exceptions to that rule but in general you'll find that the bottom of the ologist covers that very tiny last bottom bit of the iris. So you have an angle that travels up and then you find or angle that travels up again further. So that's a wonderful way to begin drawing your eye using the construction drawing. So let's look a step further then and say all the shadows that are in your eye or just grab that photograph of your eye again so I can refer back to that now when we go a step further. We can then add the overall shape of the eyebrows. Now we'll just have a look at the photograph of the Dragon. So drawing this big overall shape and then we can also see the shadow shapes around here as well and it's fabulous to draw those in either the top of your construction drawing. So just get that in those big large shadowy shapes and then it can also just sketch in the curve over the top of those angles. So what you end up with is a very gentle outline sketch of the major shadow shapes and the shape of the eye to begin with. I also love to put on the eyelashes fairly early on and not every portrait has to have eyelashes because sometimes you don't really notice them. You don't have to draw your eyelashes in. But when they're really obvious it's a good idea. You can see with this photograph you can really see those eyelashes very prominently. So once you've created that basic overall shadow shape of the eye he can transfer that quality paper ready for shading. Now I use the Sonus Waterford St. Cuthbert's middle paper for shining portraits. It's a beautiful paper with my wonderful do with pencils. So what you can do there is once you've transferred that to your quality paper you can then begin your shading. And this is the exciting part because your eye begins to come to life. And I first of all not to go over and really press quite hard for the pencil and get those eyelashes in. So watch and know exactly where your eyelashes are going to be. You can just sketch them in gently with hate to begin with but they really mean with you forby paint. So it's a good idea to use a chisel point teeth. So if you've got want to choose a point to peas you might have read your previous course. Nice to know what the point is that those of you haven't if you haven't read those nights yet. That was way back in another unit. You can just propel your pencil on a slot angled square it down like that and then you'll create the chisel point which is a slight angle to the tip of your pencil which is a point to me and then lay that flat on your page and then flick to create these beautiful eyelashes. So the first layer we create the eyelashes. So they're nice and dark and then we can shade over the top with your height paint. So with a beautiful smooth shading technique just light on the side and build up the lies of the shadows just to level to time and just darkening the level three areas as well. So basically all you're doing is lying on your first layer of shading filling in all the shadowy shapes and then you can also dark not the people you can use the highest be with a bit more pressure in there and even add a bit of the forby if you want to at that stage to really reinforce that people area. They now there is going to be a lovely shadow underneath the edge of the line here so you can gently put that into that stage. Then the next stage of building up the shading for your eye is using your fore Bay and you are to be Panzo as well as your height should be just really get a beautiful gradation under the sea see that lovely shadow it comes out gradually and lighter so you can build up that gradation. There's another gradation on the here in the shadow and try to imagine that three dimensional quality that the eye has you can shade back in the corners here. It makes it a lot darker. And remember this Crace here. So that's a little bit darker than everywhere else and with your eyebrow you can just lay there as a shaded area and then go on and add some little tiny just a few little eyebrow hairs in there. Once again using a chisel point strike but this time you can use your highest base. Choose a point strikes just that little bit finer and thinner. So just flick those and follow the direction of the eyebrows. Now eyebrows have a lot to do with twine. So you've got to look at the whole eyebrow and see where the darkest area of tinies. And then you can Scheid the area with a smooth shading technique to make it nice and dark and then lighter into the area over here. So continue to build up all of your tines. But consider the way that form is going back into the distance to get that nice red get a fit with your eyes and you can add some little lines into the RCA to give that texture just to them Spahr lines that just graduate leaning in traveling towards that people area. And that's how you shine.