Draw Facial Features With This In-Depth Beginner's Guide %
Draw Facial Features With This In-Depth Beginner's Guide %
Draw Facial Features With This In-Depth Beginner's Guide %
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If you want to draw lifelike portraiture, knowing how to draw facial features is essential. Below, artist and instructor Lee Hammond shares tips
and techniques for drawing realistic faces with graphite pencil, excerpted from her book, Lee Hammond’s All New Big Book of Drawing.
In this step-by-step guide, Lee will teach you how to recreate every aspect of your model’s face: the eyes, nose, cheeks, and mouth. So you
understand where we’re heading in this tutorial, here’s our finished product first.
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These straight-on and profile views of the nose will give you ample practice. Follow the steps to draw a nose in both views.
Straight-on View
1. Create a Line Drawing
Use the grid method and a mechanical pencil to create a line drawing of a nose in a straight-on view.
Second, add reflected light along the edges of the nose and the rim of the nostril. Add a shadow edge under the tip of the nose to make it look
rounded. Place cast shadows under the bottom edge of the nose.
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3. Blend
After you add your light and dark tones, blend them smooth with a stump or tortillion. Very little of the drawing should be left white. Many
artists will leave skin tones too light, but only the highlights should be as white as the paper.
Be sure to blend out from the dark areas into the lighter face area, just like you did in the sphere exercise. This makes it appear real.
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Profile View
1. Create a Line Drawing
Use the grid method and a mechanical pencil to create a line drawing of a nose from a side view.
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When you are sure of your accuracy, carefully remove the grid lines with a kneaded eraser then develop the patterns of light and dark with a
pencil. Be sure to refer to the sphere.
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3. Blend
Blend the tones smooth with a stump or tortillion. Use the dark tones behind the nose to make the edges stand out.
Lighting is crucial. The dark background makes this example look very different from the previous one.
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When studying the mouth, you will notice the upper lip is usually smaller and will appear darker than the bottom lip. It creates an M shape.
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There are differences between male and female lips. Female mouths are much more defined and seem fuller and shinier. The edges of male lips
are more subtle and are described by the shadows around them more than the edges themselves.
Make the upper lip darker than the bottom one. This is because the upper lip angles in, and the bottom lip angles out.
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Drawing Smiles
Mouths become much more difficult to draw when the teeth are showing. When drawing teeth, never draw a hard line between each tooth.
Because the teeth touch, a hard line would make them look too separate by representing a dark space.
They should also have some shading applied. Teeth are dimensional, so leaving them white would make them look flat. As the teeth recede into
the mouth, the shadows get darker. The bottom teeth are always a bit darker too since they do not protrude as much.
Do not draw hard lines between each tooth. For accuracy, draw the shapes of the gum line and the edges of the teeth.
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Blend the tones smooth with a tortillion. Apply some shading to each tooth to make sure they look dimensional. Lift the highlights of the bottom
lip so that they look full and shiny. 0
Keep the lines between the teeth subtle. Use a kneaded eraser to soften where they touch.
Drawing Eyes
There are many components to the eye and all of them are important. Here are a few hints to help you:
The iris and the pupil are perfect circles when the eye is looking straight at you. If turning away or looking up and down, they become ellipses.
The pupil is the darkest part of the eye. Fill it in as dark and smooth as possible. Leave an area for a catch light.
The catch light should be half in the pupil and half in the iris. If the photo shows it blocking the pupil, move it over.
The lower lid thickness below the iris is very important. Never just draw a line under the eye. This small detail gives the eye dimension.
Patterns within the iris will vary depending on the color of the eye and resemble a starburst.
The white of the eye needs to be blended to resemble a sphere shape. Never just leave this area (the sclera) white.
The lashes on the upper lid come together to make a dark edge called the lash line.
The upper eyelid recesses, making the eyeball take on a sphere shape.
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Leave an area open for the catch light (half in the pupil and half in the iris). Blend things smooth with a tortillion. Use a kneaded eraser to lift the
catch light and increase the patterns in the iris.
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Add the eyelashes with very quick strokes that taper at the ends. They grow in layers and clumps, so do not make them go all along in a row.
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Notice how the lashes on the bottom grow from the lower edge of the lower lid thickness. You can see how much dimension the lower lid
thickness gives to the look of the eye.
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If you draw a vertical line down from the corner of the eye, it will line up with the edge of the nose. (This can change according to different
ethnicities.) 0
Both eyes must be looking in the same direction. The pupil and iris must be the same in both.
Place the catch light in the same place on both eyes (half in the pupil, half in the iris).
The pupils of the eyes are the darkest areas. Fill in the tones of the shadow areas and the eyebrows. The eyebrows should be shaded in as a
shape first, before the hairs are applied.
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Blend with a stump or tortillion. Very little of the paper should be left white, even in the whites of the eyes. Use a kneaded eraser for the small
highlights seen in the brows and patterns within the pupils.
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The features look distorted due to the perspective. In this view, the profile of the nose is blocking one of the eyes and only a small portion of the
face is showing on that side.
The irises and pupils now are vertical ellipses, since the eye is not looking straight at you. The perfect circle is now changed due to the
perspective.
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Blend the skin areas with a stump or tortillion. Use a kneaded eraser for the small highlights seen in the brows. Create the patterns within the
pupils and lift the catch lights. 0
Ears
Ears are one of the most difficult features to draw because hey are made up of strange shapes. We don’t particularly pay much attention to ears
unless they have earrings or are larger than normal. Either way, they are not shapes that we often think about.
To draw a good portrait, you must learn the anatomy of the model to make them look convincing. It is a good idea to practice drawing ears in a
variety of angles and poses, too. Practicing all views is important if you want to be proficient in portrait drawing.
This is a typical front view of an ear seen on a portrait. Much of the anatomy is blocked by the hair. Only the protruding part of the earlobe is
visible.
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This side-angle view shows the complexities of the ear. It is certainly not a typical pose, but you never know when you may have to draw a
person in an unusual pose.
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Drawing Ears
This exercise will help you learn the anatomy of ears. They are made up of many intricate shapes that all nestle together. The grid method helps
to make them appear more like a puzzle.
The inner ear has an area that resembles a Y. Look for it in every ear you draw.
The skin of the ear is different. It is more oily, so highlights can appear very bright.
There is a protruding area of the inner ear that acts like a cup.
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Create shadows underneath where the outer ear overlaps the inner ears. Resist the urge to outline too much. Let shading create your edges.
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The ear is a bit shinier than other skin, so the highlights should be bright. Remember the five elements of shading and the sphere when focusing
on the earlobe.
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And, before moving on to this demo, be sure to practice drawing hair. I covered this topic in another post, which you can find here.
When you want to draw facial features, start with the eyes. This helps create a connection with the viewer and starts to capture the personality of
your subject.
When you nish the eyes, move down and nish the nose, then the mouth. This is called the triangle of features.
Allow the darkness of the hair to help create the lighter edge of the face. Placing tone behind the face reduces the chance of things looking
outlined.
When drawing hair, apply your pencil strokes going in the same direction as the hair growth.
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Start with the eyes and then move down to the nose and mouth to create the triangle of features. Apply some dark tone next to the face to help
create the light edge of the face. Start to build the hair using long pencil strokes.
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Take your time finishing. The face must be blended very smooth with a stump or tortillion. Little of the drawing should be left pure white; only
the highlights in the eyes and on the nose appear white. As you complete the face, refer to the previous exercises on individual facial features
and keep the five elements of shading in mind.
The hair in this portrait takes a lot of time. Use very long pencil strokes to create the length. Blend everything out smooth and then lift bands of
light out of the hair with a kneaded eraser.
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Keep Practicing
Now that you have learned how to draw facial features, keep practicing! Lee Hammond’s All New Big Book of Drawing includes tons of quick
step-by-step drawing demos geared toward beginners in both graphite and colored pencil (including how to draw facial features in colored
pencil). Find more inspiration and techniques from Lee Hammond herself by visiting her website, here. From drawing realistic faces to creating
lifelike animals, this resource has it all. Enjoy!
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