![]() The bottom eyelid (the plane that is facing us - see the image below). Notice the subtle gradation present in the front plane of Nuances that I’m paying attention to at this point:ġ) The gradation below the eyelashes on the lower eyelid. to continuously improve, or make more specific, the.to reinforce the structure of the eye that I illustrated at.I am considering how to use subtle values and edges … Start focusing on smaller nuances in value and edge quality. Starting to look quite realistic! As I gain confidence in my overall value relationships, I I’ve continued building up my values, and my drawing is It usually has a gradation and a range of values – hereĮspecially, since half of it is in shadow. Though the sclera is referred to as the ‘white of the eye’,īecause it’s a sphere it is rarely completely white. Notice that even the lightest part of the white of the eye The lightest values are the highlights that are found on theīorder between the pupil and the iris, in the lacrimal caruncle (corner of theĮye closest to the nose), and in the far corner of the eye. Where are the lightest values in the scene? In fact, separating them would only detract from the realism in this scenario. If I can’t see a separation, I’m not going to create it in myĭrawing. Pupil meets the upper eyelid, we can’t distinctly see where one begins and the Where are the darkest values in the scene? Is to establish my value structure: to determine where my light, half-tone and My proportions, I turn my attention to shading, or rendering. Line B may be more evident since it is emphasized by the eyelashes, but inconvenient to start with since I would have to leave the correct amount of room for both the eyeball and the top plane of the lower eyelid.Īfter I have lightly filled in my shadow shapes and adjusted Notice that the bottom line that I'm drawing is Line A in the image below as opposed to Line B. This means that I’m indicating the lines that define the part of When working from the inside out, I begin with the innermost Method 2 for Starting an Eye Drawing: Working from the Start a drawing, check out Lesson 2 of my free Mini-Course. For a more detailed tutorial on using the Envelope method to I thenĭivide up this general shape into smaller, more specific sections (the eyebrow, When working from the outside in, I start by creating anĮnvelope, or a general shape around the entire eye socket area. Method 1 for Starting an Eye Drawing: Working from the outside in There are two ways in which I tend to begin eye drawings: (Not indicating that each eyelid has two planes is one of the most common mistakes that detract from the realism of an eye drawing!) ![]() This allows us to see the entire top plane of the lower eyelid, and is going to be an important element to emphasize in my drawing in order to create the proper perspective, and the illusion that the eye is looking out from under the brow ridge. I have exaggerated this slightly in my structural sketch, though this is very subtle on the model, and manifests as a deep shadow. This allows us to see a larger portion of the inside of the top eyelid than we would see in a straight-on view. The model's head is turned about 3/4 to her right, but she is looking directly at us, causing an uneven distribution of the white of the eye on both sides of the iris. This is not a straight-on view of the face or the eye.What I look for and notice while observing the eye in this How to Draw Realistic Eyes Analyzing the Structure of the Eye Need to focus on or emphasize in order for the eye to read asĪ convincingly three-dimensional form? A structural diagram can answer all of What features of the eye can you see? Which ones are obscured? Where are the important overlaps? (No idea what overlaps are? Watch Lesson 4 of my free Mini-Course!) What areas Though this is not a complete list of the features of the eye, these are the ones that are most visible in this pose.Īnalyze the structure of the eye in it’s current pose by drawing a structural diagram.
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