Very often, beginning artists neglect the study of the human skeleton and musculature, mistakenly believing that “it will work out just fine.” But ignorance of human anatomy leads to the fact that the drawn person turns out to be unconvincing, and his facial expressions and movements look unnatural.
So today we'll look at basic principles, which you should follow if you want to draw a good and high-quality portrait.
1. Facial proportions
The skull and jaw are a slightly flattened sphere, so looking at human face from the front we see something like an egg turned upside down with its narrow side down. Two perpendicular lines, passing through the middle, divide this egg into four parts. Let's look at the details:
- Mark the midpoints of the right and left halves of the horizontal line. The eyes will be located exactly at these points.
- Divide the bottom half of the vertical line into five parts. The bottom of the nose will be located on the second mark from the top, and the line where the lips meet will be located one point below.
- Divide the top half of the vertical line into four parts. The hairline will be located at the second or third mark, this feature varies. The ears are located between the upper eyelid and the tip of the nose, but this rule is only true when the face is not down or up.
Helpful hint: The width of the face is usually the width of five eyes or a little less. The distance between the eyes is equal to the width of one eye. Very rarely in people this distance differs very much from the standard, but this feature will be quite easy to notice. The distance between the lower lip and chin is also equal to the length of one eye.
Another way to measure is to use the distance between the tip of the thumb and index finger. The figure below shows which distances can be measured in this way: ear height, distance from hairline to eyebrows, from eyebrow to nose, from nose to chin and from pupil to pupil.
Profile
In profile we can still see the shape of the egg, but its sharp side points towards the corner. Lines now divide the head into the face and skull.
On the skull:
- The ear is located immediately behind vertical line. In size and location, it is still located between the upper eyelid and the tip of the nose.
- The depth of the skull varies within the limits indicated in the picture below in point 4 with dotted lines.
- Everything is located as indicated above.
- The root of the nose coincides with the horizontal line or is slightly higher
- The most convex part is the first point above the horizontal line that marks the line of the eyebrows.
2. Features
Eyes and eyebrows
The eye is simply two arches joined into an almond shape. There is no specific rule in drawing eyes, because the shape of the eyes can be different, and there are a lot of such shapes, but we can notice the following trends:
- The outer corner of the eye can be higher than the inner corner, but not vice versa.
- If the eye shape is almond, then the rounded part of the eye will be closer to the inner corner, and the elongated part will be closer to the outer corner.
Eye details
- The iris is partially hidden under the outer eyelid. It only touches the lower eyelid if the person is looking down, or if the eye is built so that the lower eyelid is higher than usual.
- Eyelashes grow from the inside out, not the other way around, and this is very important when drawing so that they look natural. The eyelashes on the lower eyelid are shorter.
- When trying to draw all the little details (tear ducts, lower eyelid, etc.), remember that detailed drawing does not always mean that the result will be beautiful.
In profile, the eye takes the shape of an arrowhead (with convex or concave sides), with a slight hint of the upper and possibly lower eyelid. IN real life you will not see the iris from the side, you will only see the white of the eye. But an eye without an iris looks strange, so draw at least a hint of it.
As for the eyebrows, the easiest way to draw them is to follow the arc upper eyelid. Often the widest part of the eyebrow is closer to the inner part, and the “tail” tending towards the outer part of the eye gradually becomes thinner.
If you look in profile, the shape of the eyebrows changes dramatically and becomes more like a comma. The eyebrow begins where the tips of the eyelashes are located.
The human nose is approximately wedge-shaped, it is quite easy to imagine and draw it in volumetric form before drawing in the details.
The dorsum and wings of the nose are flat surfaces that are only outlined at the end, but it is still very important to take these surfaces into account when sketching in order to correctly calculate the proportions. The lower flat part of our wedge in the form of a truncated triangle connects to the wings and the tip of the nose. The wings fold inwards towards the septum to form the nostrils - note that the ventral view shows how the septum begins before the wings and connects to the face. It projects lower than the wings when we look at the nose in profile, which means that in the 3/4 view the far nostril is hidden by the septum.
Just as with the eyes, detailing does not always give good results. Therefore, it is more important to work out the proportions than to pore over details that can ultimately disfigure the drawing. When drawing from the front, the nose looks better if you draw only the lower part. If you are drawing a 3/4 view, then most likely you will be better off drawing the line of the bridge of the nose. You'll have to look at and study a lot of noses to figure out how and when to portray it.
Lips
- The line where the lips meet should be drawn first, as it is the longest and darkest line of the three that form the mouth. It's not just a wavy line, but a whole series of thin curves. In the picture below you can see an exaggerated example that will explain to you the movement of the mouth line. Please note that there is different shapes lips, and that the base line may reflect the lower or upper lip. Lips can be softened different ways. The line in the middle can be very straight to reflect a sharp look, or very blurry to weaken the lips. It all depends on the shape of the lips, how plump they are. If you want to achieve symmetry, start from the center and draw one half of the lip, and then the other.
- The two upper tips of the upper lip are the most obvious parts of the mouth, but they can also be either pronounced or almost in one line.
- The lower lip has a soft arch, but can also vary from almost straight to very rounded.
- The upper lip is usually thinner than the lower lip and sticks out less from the overall topography of the face than the lower lip. Try to highlight the upper lip with strokes.
- The sides of the lips are shaped like an arrowhead, and the fact that the upper lip protrudes slightly forward in this place can be seen very clearly.
- The midline of the mouth at the ends deviates downward from the lips. Even if the person smiles, it curves down before going up again. Never draw this line straight up if you are drawing a face in profile.
The most important part of the ear is the long C-shaped outer line. Interior ear is like an inverted U. There is also a similar curve just above the earlobe, connected to a small C-shaped arch. In general, the shape of the ear also varies.
When we see the face from the front, the ears are visible in profile:
- The rim, previously U-shaped, is now separate part- as happens when we look at a plate from the side and see its bottom.
- The earlobe will look more like a drop and will stand out.
- How thin the ear line needs to be drawn depends on how close the ears are to the head.
If you look at the head from behind, the ear looks as if separated from the head: the rim is attached to the head by a funnel. Don't be afraid to draw the funnel too big, as it really isn't small.
3. Angle
Being shaped like a ball with a few minor changes, the head is easier to draw than expected. But despite this, you need to study how it looks from different angles. Of course, the appearance of the nose changes first, but the eyebrows, cheekbones, central part of the mouth and chin also change.
When we drew the face in front and profile, we practically simplified it to a two-dimensional plane. For other viewing angles, we need to think in three-dimensional space.
Look down
- All parts are rounded upward and the ears also move upward.
- Since the nose protrudes forward, it protrudes from common line face and its tip is closer to the mouth.
- The eyebrow curve becomes smoother. In order for it to take a reverse bend, you need to turn your face in some particularly unusual way.
- The upper eyelid becomes more visible and covers most of the eyeball.
- The upper lip almost disappears, and the lower one sticks out more.
- Notice that since the mouth follows a general curve, it appears as if a smile has appeared on the person's face.
Look up
- All parts are rounded down and the ears are also moved down.
- The upper lip becomes fully visible and the mouth appears fuller.
- The brow line becomes more rounded, but the lower eyelid curves downwards, giving the effect of an edgy look.
- The lower part of the nose is clearly visible, and the nostrils are also clearly visible.
Turn sideways
When a person is seen almost from the back, all that is visible is the protruding line of the eyebrows and cheekbones. The neck line protrudes and tends towards the ear. Eyelashes are the next thing that is visible when a person turns his face.
Then part of the eyebrow appears, and the ridge of the lower eyelid and the tip of the nose protruding from behind the cheek become visible.
When the face is already turned almost in profile, the eyeball and lips become visible (but middle line mouth is still small), and the neck line merges with the chin line into one line. You can still see part of the cheek where the nostril hides.
Undoubtedly, one of the most discussed topics among beginning artists is drawing a person's face in profile. Initially, this seems difficult, although in fact the whole difficulty lies only in ignorance of the human skeleton and muscles.
Therefore, it is worth learning the basic rules in order to be able to create a really good portrait.
The side view of a face begins with a visual determination of the width of the head, the ratio of its parts to each other, the shape of the nose and the location of the eyes.
Next, let's move on to the main steps.
Let's draw the borders. To do this, draw a square whose height is 1/8 greater than the width and divide it into four equal parts. We outline a horizontal line that divides the square in half - the eye line, as well as three others: hair growth, eyebrows and nose. Determine the point of the chin.
From the line of the nose to the top of the head we enter an inclined oval, which will show the shape of the head and forehead.
1. From the top extreme point oval, we begin to draw a line to the level of the eyebrows. This way we get superciliary arches.
2. Show the bridge of the nose. From the central axis of the eyes, draw a nose, the tip of which should protrude beyond the previously outlined square.
3. Now let's move on to the jaw. Its shape should be concave inside the square (remember what your face looks like in profile).
4. The chin, on the contrary, protrudes forward.
5. Next, we outline the line of the mouth, draw the upper and lower lips (they also protrude a little forward)
Fourth.
1. Outline the line of the eye and eyebrows.
2. We outline the ear on the central vertical axis. Its size will be from the line of the eyes to the level of the nose.
3. Outline the outline of the neck.
1. Now we can erase the markings. We begin to draw facial features.
2. Outline the eye, add the pupil and eyelids.
3. Draw the shape of the lips, mark the shadow under the lower lip.
4. Draw the ear and show the relief of the jaw under the ear.
Sixth.
Now the rules are created by your imagination! The finishing touches remain.
We add a hairstyle, detail the facial features, the shape of the eyes, lips and nose. Don't forget to highlight the shadows and draw the eyelashes.
Some tips:
— In profile, the eye resembles an arrowhead, with a hint of upper and lower eyelids. Remember that the iris should be partially hidden under the outer eyelid (but if the person is looking down, it will lightly touch the lower one).
— Detailed, down to the smallest detail, drawing of the eye will not always have a good effect on a beautiful result.
— When a person looks down, all the lines of the face move up. The nose protrudes from the general line of the face, with the tip approaching the mouth. The upper eyelid covers most of the eyeball.
— When a person looks up, all the lines of the face move down. The lower eyelid begins to curve downward slightly. The lower part of the nose with the nostrils becomes very visible.
And, of course, it’s worth adding emotions. Without them, any portrait will remain an unnatural and lifeless picture. The most different: disgust, anger, fear, joy, grief, sadness. Each of them will give the hero of the portrait some zest.
Let's not forget about ethnic features:
The Asian face type is characterized by high cheekbones, narrow eyes and a wide nose. The face is framed by straight hair.
For African-Americans - a wide nose and full lips. The eyes are wide open and bulging. The hair is curly.
For the Caucasian race - slightly closed eyes, thin lips and a straight nose. Hair can be wavy or straight.
Now that we've covered the basics thoroughly, you can create your own portrait.
Everything will work out!
In this lesson we will learn how to draw a soft illustration using a mechanical a simple pencil and colored pencils. In just a few steps you can complete a wonderful drawing of a girl in profile. Let's start!
The end result will look like this:
Lesson details:
- Tools: Mechanical pencil, colored pencils, eraser, paper
- Complexity: Advanced
- Estimated completion time: 2 hours
Tools
- Mechanical pencil
- Faber Castell Classic Color Pencils. Numbers: 370 – Lime, 330 – Flesh, 309 – Royal Yellow, 361 – Turquoise, 353 – Royal Blue, 362 – Dark Green
- Eraser
- Paper Type: Double A
1. Draw a girl’s profile
Step 1
Draw an ellipse for the head. Divide the ellipse in half. Don't press too hard with the pencil; soft lines will be easier to erase later.
Step 2
Draw a straight line from top to bottom, dividing the ellipse into 4 parts.
We begin to draw a profile along the edges of the ellipse. The horizontal line is where we will draw the eyes. The chin is in the lower left section of the ellipse.
Step 3
Let's start drawing the eye and ear.
Step 4
Add details to the eyeball and ear.
Step 5
Let's start adding small parts, such as eyelashes (eyelashes must be drawn for the other eye as well - this is the only thing that will be visible from the second half of the head).
Step 6
Making the face more expressive.
Step 7
Let's start drawing the hair. We use twisting curls. Place one curl behind your ear to add a softer look. We give general shape hair
Step 8
Let's add accessories to her hair, otherwise the picture will look incomplete.
Step 9
Add more curls of hair to give volume to the hairstyle.
Step 10
Erase the original lines of the ellipse and add more details.
Step 11
We finish drawing the details of the accessories and the hair on the forehead.
Step 12
The more detailed the hair is drawn, the better we can define the shadows.
2. Adding color
Step 1
Color No: 330 – Flesh color
We start by adding color to the face. Apply color wherever there will be shadows: on the eye, nose, lips, neck, on some parts of the forehead, under the hair in the ear area.
Press the pencil lightly. If you want the color to be darker, just add another layer of color.
Step 2
Use a little of this color on the forehead and under the lips. More for the eyes and around the eyes.
Step 3
Add of blue color onto the hair as shown in the image below. Basically, this is the designation of the shadows where the hair strands are folded.
Step 4
The head looks a little wide, so let's add one more stroke to draw the head up.
Step 5
Color No: 361 – Turquoise
Add this color to almost all the hair, with the exception of the top of the head.
Let's also add this color to the eyes.
Step 6
Color No: 330 – Flesh color
Let's slightly enhance those areas that we painted with this color earlier: eyes, eyelashes, ear, nose, lips and chin.
Step 7
Color No: 361 – Turquoise
Add turquoise color to the inner circles of the accessories.
Step 8
Color No: 309 – Royal Yellow
We cover the rest of the hair and some parts of the accessories with this color. The hair from the back needs to be made more expressive, so we dye it in two layers.
Step 9
Color No: 370 – Lime
Add this color to the tips of the eyes and hair decorations.
Step 10
Color No: 361 – Turquoise
Add a shadow using this color to the bottom of the hair and jewelry.
Step 11
Color No: 370 – Lime
Use this color to create a smooth transition from yellow to blue.
Step 12
The hair looks a little empty, so let's add some detail.
Step 13
Color No: 362 – Dark green
Use this color to fill in the shape of the pearls.
Step 14
Color No: 362 – Dark green
Continue adding this color to highlight and add contrast to the eyes and hair.
We use mechanical pencil to add dark lines for the eyes.
Step 15
Color No: 353 – Royal Blue
Let's add more contrast to our image. We draw the hair on the forehead, eyelashes, some sections of hair and accessories.
Step 16
Color No: 362 – Dark green or No: 361 – Turquoise
You can use one or both of these colors to add detail to accessories and hair.
Step 17
Finally, use pencils to add more depth to: eyes, brows and lips.
That's all! We're done!
We hope you enjoyed this quick and easy tutorial!
Translation - Duty room.
We can now take a closer look at the details. And we'll start with the face. A person’s face is the first thing we pay attention to in any situation, and this also applies in a certain way to art: the observer will first of all look at the face with your characteristic features. Putting a face on paper, especially drawing lively expressions, is definitely worth the effort.
In this tutorial we will introduce the main components drawing a face - proportions, features and perspective, and in the following lessons we will look in more detail at various facial expressions.
1. Facial proportions
Full face:
In this position, the skull will be a flat circle, to which the outline of the jaw is added, which overall forms an egg shape, pointed at the bottom. Two lines perpendicular to the center divide the “egg” into four parts. To distribute facial features:
- Mark the midpoints of the left and right halves of the horizontal line. There will be eyes at these points.
— Divide the vertical bottom line into five equal parts. The tip of the nose will be at the second point from the center. The lip fold will be at the third point from the center, one point lower from the tip of the nose.
- Divide the top half of the head into four equal parts: the hairline (if the person does not have a receding hairline) will be located between the second and third point from the center. The ear will be located between the upper eyelid and the tip of the nose (if the face is at the same level). When a person looks up or down, the position of the ears changes.
It is useful to know that the width of the face is the width of five eyes or slightly less. The distance between the eyes is equal to the width of one eye. It is not typical for people to have wide-set or too close-set eyes, but it is always noticeable (wide-set eyes give a person an innocent, childish expression, while narrow-set eyes arouse suspicion in us for some reason). The distance between the lower lip and chin is also equal to the width of one eye.
Another criterion for the measure is the length of the index finger above thumb. In the diagram below, all lengths are marked in accordance with this criterion: ear height, distance between hair growth and eyebrow level, distance from eyebrows to nose, distance from nose to chin, distance between pupils.
Profile:
From the side, the shape of the head also resembles an egg, but pointed to the side. The center lines now divide the head into an anterior (face) and posterior (skull) portion.
From the side of the skull:
— The ear is located directly behind the center line. In size and location, it is also located between the upper eyelid and the tip of the nose.
- The depth of the skull varies between the two dotted lines (as shown in Step 4).
From the face:
— Facial features are positioned the same way as in the front view.
— The deepening of the bridge of the nose either coincides with the center line or is located slightly higher.
— The most prominent point will be the level of the eyebrow (1 point from the center).
2. Facial features
Eyes and Eyebrows
The eye is built from two simple arches, shaped like an almond. There are no strict rules here, since eye shapes can be completely different, but there are general recommendations :
— The outer corner of the eyes is higher than the inner corner, and not vice versa.
— If you compare an eye with an almond, the rounded part of the pupil will be from the inner corner, decreasing towards the outer corner.
Eye Details
— The iris of the eye is partially hidden behind the upper eyelid. It crosses the lower eyelid only when the person looks down or squints (the lower eyelid rises).
- The eyelashes curve outward and are shorter on the lower eyelid (in fact, you don't have to draw them every time).
— If you want to depict the oval of the tear duct in the inner corner of the eye, and also show the thickness of the lower eyelid, it completely depends on your preferences; an excess of details does not always look appropriate. Adding such details is proportional to the complexity of the drawing.
- The same can be applied to drawing the crease of the eyelid - it adds expressiveness and makes the look less anxious. I think it's best not to add a fold if you're doing a stylized design or your design is too small.
The eye in profile resembles the shape of an arrowhead (the sides can be concave or convex), with a slight marking of the upper eyelid and, optionally, the lower. In life, we do not see the iris in profile, but we see the white of the eye. When I was working on the lesson, many people said that “it looks strange,” so the iris still needs to be designated.
As for the eyebrows, it's easiest to draw them after the eyes to follow the curve of the upper eyelid. Most of the length of the eyebrow looks inward, and its tip is always slightly shorter.
In profile, the shape of the eyebrow changes - it becomes like a comma. This “comma” continues the level of the eyelashes (where they bend). Sometimes the eyebrow appears to be one with the eyelashes, so you can also draw one curve for the top of the eye and the border of the eyebrow.
The nose is usually wedge-shaped - it is easier to visualize and give three-dimensionality before adding details.
The septum and sides of the nose are flat, which will be noticeable in the finished drawing, but already at the sketching stage it is necessary to mark them in order to subsequently distribute the details correctly. In our wedge, the lower flat part is a truncated triangle connecting the wings and the tip of the nose. The wings curve towards the septum to form the nostrils - note that when viewed from below, the lines forming the sides of the septum are in the foreground, parallel to the face. The septum protrudes lower than the wings (when viewed straight on), which means that at a ¾ angle the far nostril will not be visible accordingly.
The hardest part of drawing a nose can be deciding which parts of the nose to leave out for a natural-looking result. You won't always have to draw the entire wing of the nose (where it meets the face), and in most cases the drawing will look better if you just draw the bottom of the nose. The same goes for the four lines of the nasal septum, where they connect to the face - in most cases it will be better if you draw only the lower part of the nose (wings, nostrils, septum) - you can alternately cover the lines with your finger to make sure . If the head is turned ¾, it becomes necessary to complete the lines of the bridge of the nose. You will need to do a lot of observation and trial and error to recognize the unique features of the nose. Caricaturists have this feature - you need to carefully examine the outlines of the noses to understand why they are depicted this way. We will return to this issue again in future lessons.
Lips
Tips for depicting the mouth and lips:
— First you need to draw the lip fold, since this is the linearst and darkest of the three almost parallel lines that form the mouth. In fact, it is not a solid straight line - it consists of several implicit curves. In the picture below you can see exaggerated examples of the movement of the mouth line - note that they follow the line of the upper lip. This line can be “softened” in several ways: the hollow above the lip can be narrower (to distinguish the corners) or so wide that it becomes invisible. It may also be the other way around - the lower lip is so full that it creates the sensation pouting lips. If you find it difficult to stay symmetrical at this stage, try starting from the center and drawing one line on each side.
— The upper corners of the lips are more noticeable, but you can soften them by creating two wide curves, or soften them so much that they are no longer noticeable.
- The lower lip certainly resembles a regular curve, but it can also be almost flat or quite rounded. My advice is to denote the lower lip with at least a regular dash under the lower border.
— The upper lip is almost always narrower than the lower lip, and it protrudes less forward. If its outline is outlined, it should be more clearly expressed, since the lower lip already stands out with its shadow (it should not exceed the size of the lip).
— In profile, the lips resemble the shape of an arrowhead, and the protrusion of the upper lip becomes obvious. The shape of the lips is also different - the upper one is flat and located diagonally, and the lower one is more rounded.
— The lip fold in profile deviates downward, starting from the intersection of the lips. Even if a person smiles, the line goes down and rises again in the area of the corners. Never raise the line level when drawing in profile.
Ears
The main part of the ear (if drawn correctly) is shaped like a letter WITH from the outside and the shape of an inverted letter U With inside(border of the upper ear cartilage). Smaller ones are often drawn U above the earlobe (you can put your finger to your ear), which goes further into a smaller letter WITH. Ear details are depicted around the ear opening itself (but not always), and their shapes can be completely different from person to person. different people. The drawing can be stylized - for example, in the picture below there is an ear in its general view resembles elongated “@” symbols.
When the face is turned to the front, the ears are depicted in profile accordingly:
- The lobe, previously marked in the shape of an inverted U, is now visible separately - the same thing when you look at the plate from the side and then see its bottom as if it were closer to you.
— The shape of the ear opening resembles a drop and stands out against the general background of the ear.
— The thickness of the ear from this angle depends on its proximity to the head, this is another individual factor. However, the ear always protrudes forward - this is how it happened during evolution.
When viewed from behind, the ear appears separate from the body, essentially a lobe connected to the head via a canal. Don't underestimate the size of the canal - its function is to make the ears protrude forward. In this view, the canal is heavier than the lobe.
3. Angles
Since the head is based on a circle, where facial features are outlined, changing the angle of the head is easier than it seems at first glance. However, it is even more important to observe the position of people's heads in different angles in life, to remember all the protrusions and depressions that overlap each other in the most unexpected way. The nose undoubtedly recedes significantly from the head (the eyebrows, cheekbones, center of the lips and chin also protrude); at the same time, the eye sockets and sides of the mouth form some depressions in our “circle”.
When you and I drew a face from the front and in profile, we simplified the task to a two-dimensional image where all the lines were flat. For all other angles, we will need to reframe our thinking into a three-dimensional world and realize that the shape of an egg is in fact an egg, and the lines we used earlier to place facial features intersect this egg like the equator and meridians on a globe: at the slightest changing the position of the head we will see that they are round. Positioning facial features is just drawing intersecting lines at a certain angle - now there are three of them. We can again divide the head into upper and lower parts, "cutting" our "egg", but now we need to keep in mind: the components closest to us look thicker. The same applies to drawing a face up or down.
Man looking down
— All features curve upward, and the ears “raise.”
— Since the nose protrudes forward, its tip drops below the original mark, so it seems that it is now closer to the lips, and if a person lowers his head even lower, the nose will partially cover the lips. No need to draw from this angle additional details nose - the bridge of the nose and wings will be enough.
- The arches of the eyebrows are quite flat, but can become curved again if you tilt your head too much.
- The upper eyelids of the eyes become more expressive, and it is enough to just slightly change the position of the head so that they completely hide the orbits of the eyes.
— The upper lip is almost invisible, and the lower lip is enlarged.
Man looking up
- All lines of facial features tend downward; the ears also move downwards.
— The upper lip is visible in full (which does not happen in the full face). Now the lips appear pouty.
- The eyebrows arch more and the lower eyelid rises, causing the eyes to appear squinted.
- The lower part of the nose is now fully visible, both nostrils are clearly visible.
Man turns around
- When we see a person almost completely turned away, the only visible features that remain are the brow ridges and cheekbones. The neck line overlaps the jaw line and is located next to the ear. When a person turns, we also see eyelashes.
- Also, when turning, we can see part of the eyebrow line and the protrusion of the lower eyelid; the tip of the nose also appears directly from behind the cheek.
- When a person turns almost in profile, the eyeballs and lips appear (although the fold between the lips is small), and the line of the neck merges with the line of the chin. We can still see part of the cheek covering the wing of the nose.
It's time to practice
Use the method quick sketch, sketching on paper the facial expressions that you notice around you in a coffee shop or on the street.
Don’t try to detail all the features and don’t be afraid to make mistakes, the main thing is to convey features from different angles.
If you find it difficult to draw in volume, take a real egg (you can boil it, just in case). Draw three lines down the center and add dividing lines. Observe and sketch the egg contour lines from different sides - this way you will feel how the lines and the distances between them will behave from different angles. You can outline the facial features on the surface of the egg along the main lines and watch how they change in size as the egg rotates.
Now we will learn how to draw a girl's face in Photoshop. Based on images from the wonderful author mannequin-atelier.
We draw the main light and shadows. It is not necessary to detail them at this stage - we will do this a little later. Here it is important for us to indicate general composition and identify the main light sources. In this picture we will have several of them.
Using lighter and brighter shades, we begin to draw the overall texture of the hair. By the way, if you don’t know how to draw hair correctly, then I strongly recommend that you study our two lessons on drawing hair - and.
At this stage, we add details to the face, dilute the smooth transitions with sharp ones so that the face does not look “soapy”. In addition, we need to lighten the base pattern layer to make it look like the hair is being illuminated by a light source that is behind the girl.
We continue to detail our drawing. We make the hair strands even clearer and add individual stray hairs. We draw the eyes and lips, giving the girl’s face expressiveness, and don’t forget about the hands. Remember that shadows should fall from each object, if required, so be sure to draw a shadow from the strand framing the girl’s face.
We work on the smallest and most invisible details at first glance - the fold between the nose and lips, eyelashes, small highlights. If desired, you can work on the texture of the skin. All this will give the drawing a holistic and finished look.
