Realistic eye Step by Step Pencil Drawing on paper for Beginners #AboutFace #3

Hey everybody, it’s Cinnamon Cooney, your Art Sherpa. And we’re doing something completely different today. We’re gonna pencil and paper, instead of paint. Because I think the drawing helps you paint. And I’m gonna show you guys how you can draw an eye, and through this value study, get better at your painting practice. So, get your 2B pencil and some quality paper and come back and meet me at the easel right now. Let’s draw! So let’s start drawing in, that pencil eye. So you can understand, as a new artist how the eye is formed, and what elements need to be in it. So it feels more realistic, and more satisfying to you. Observe the picture, in picture as I do this drawing. So the first thing that I notice when I’m talking about an eye… that you need to think about, is an eye is actually a ball with skin wrapped around it. And the placement of that ball inside the head, whether it’s deep in, or far out changes the way the lids, and the eye socket, and the eyebrow are impacted. So it’s always good, if you can, to do your studies from a photograph, or from life instead of just memory. Because memory will often trick you. And it doesn’t take those things into account. On this painting, not painting… pencil drawing… What am I doing… it’s like I don’t even know. I’m gonna be using a 2B pencil, and this nice big 2B pencil. I like these because they’re soft lead, and they’ll let me do some blending. They’ll let me do some work. But they also have enough of a hard tip that I can really pen light things in and get a nice light mark. So first, I’m going to draw the arc of my upper lid. And I observe my drawing and… lookit, I’m just very light little pencil sketches in. This is just how I am. Right? So I’m looking at my arc. And then I’m gonna come down here, and I know I’ve got this downward line. Where the eye is opening. This is the part of the eyeball, that we’re seeing. So I’m just sketching that in. I need to be more open on this outer end, and then I’m coming up, to what is the tear duct. The tear duct is different on every person, but there is a tear duct and it’s a really important part of the eye to put in. This is even a good time, to go ahead and put that in and say hey, I know I need to have a tear duct here. The other thing, that as a new artist I want you to observe… that eyes have, Even when you’re doing Believe Faces is these lids have a thickness. They’re not paper thin against this eyeball. And so, like a window ledge, or any other object that you put in perspective You need to represent that thickness to the viewer. forr them to feel that this is a real object. So it’s good to sketch that in, I’m gonna pull this out a little bit. It’s pretty thin, you don’t want to make it too thick. But you want to show that that’s there. I have several erasers here. This is my crumbly eraser. Um, erasers come in different types. This is a crumbly one. Um… I get a lot of General’s erasers, and Faber Castell and Krondashe… those are the kinds of tools I enjoy. When I have that in, Then I know I’ve got to put in my pupil. And, if I have my upper lid too open, as I do here, I’ve got to drop this down a little bit… I would have to have a lot of white showing. But, in my reference photo, it doesn’t give me that. So, I recognize that I’ve got to drop my lid a bit. Because, my eye… is slightly below this here and slightly covered by the shadow here. So that gives me an idea of my lid space. See? Now, apparently the lighting for this subject matter, is very low, so the pupil’s wide open. What I’m gonna say to you about this is… is that when you’re drawing, the size of this really tells you a lot about the emotion of the subject. And so, if you’re trying to say, um… attraction, if you’re trying to say something sort of spiritual… if you open this up larger… it will convey that. Whereas if you’re trying to convey something more alarmed, you would make it smaller. Something to think about. It’s good to round these things out, in relationship to each other. And I can see that I might even be dropping my lid down even more, as I’m going, right? To make sure that that is … that that pupil is as in shadow, as it is in my reference. Now another thing I’m noticing in my reference, that you might not know, is when the lid comes down, there’s ever so slightly a lip out that comes in. And you can see that I’m not really worrying I’m just sketching in. I’m making adjustments. You make adjustments… it’s your process. Make adjustments, change your lines where you need to. Ya know, as long as you’re not erasing hard, or damaging your paper… it’s okay to think things out. Especially in pencil time… Pencil time is thinking time for the painter. Right? Pencil time is thinking time for the painter. So you can see how I’m changing my eye, as I’m observing my drawing. What I’m seeing here, is this is too far out. So I’ve got to bring this down. And you might be like, how do you know… how are you seeing it? Because I do a lot of looking. If you’re having trouble seeing something, One thing is …I’m gonna erase this because I’m still not loving that line… that you can do to help your left brain get out of the way, and your right brain have more of the wheel… Is that you can take a picture with your cell phone, and then privately post your references or your studies, up to yourself… so that you get a chance to see them. Because sometimes that’s the same as backing up out of the room. Now the depth of the lid, is really dependant on region, and person to person. My mom has a really deep lid, but I don’t. And so, you’re gonna find that this line right here… impacts the look of the face that you’re doing. So, in my reference photo, it’s not that deep. It curves along and follows this line here. Curves along, and goes out a little bit. Right? One nice thing is… makeup artists like to line up their eyebrows to that inner corner of the eye. Your subjects eyebrows can go elsewhere. Your subject’s eyebrows… like Frida Kalo, can go right across. If you’re painting Believe Faces and you’re not trying to represent a certain person in your life You can line up your eyebrow with your tear duct. I like my eyebrow to art up over a brow bone here. So I’m gonna take this up, and then bring it down. I’m gonna be as light as I can about this eyebrow. It’s something I want to talk to you about. When I’m doing the eyebrow, I give myself a constraint. But you’ll notice that I’m gonna be very, very, very light. My lines will be low pressure. They’re gonna get shorter, and open And airy there. And that’s gonna keep me… You don’t want to do something that’s like, ya know… solid like that. That’s not gonna feel good to you. Now, I need to find the shadows that are happening here. If the light source is casting down, we’ve got a lot of things that cast shadow. One of the most important things that casts shadow, is this lid. And the lashes will cast a shadow over the eye. Then generally the next thing you really have to be on point with is the reflection So, I know I’m gonna have a reflection here. Let’s draw that out right now. So we keep that. This space right here, It doesn’t really matter what else happens, this space is going to reflect. Most often, unless there’s a direct subject and a direct lighting here, and then it will show who’s taking the picture. This will show a reflection of the eyelashes. But pay attention to what’s in the refection. It will do the most to creating real power in your drawing. Now I’m gonna start putting in my shadow under my lid. And when I’m trying to create a shadow with pencil, I like to rub softly back and forth my pressure’s super light, Right? I’m just gonna come here, and just… if I press real hard like this, that’s too dark. I want to press about this light. Can you see how light that is? That’s all we’re doing. We’re just making a little field This is gonna be a study in value. Right? In my corner, My whole corner of my eye over here, is in quite a lot of shadow. So that’s something that I’m going to need to represent, in my pencil sketch, is the amount of shadow that I have under the lid. When we start doing portraits, and more realistic work, one of the things that we’re gonna be constantly looking at is the shape of these eyes. The eyebrow line. And the depth of the ball in the socket. Right now, we’re just painting… drawing… I don’t even know where I am today. Representationally. I’m gonna bring a little shadow down here The tear duct often has a depth right here. A line where the eye socket is hitting. And then, there’ll be a reflection I… to get my reflections… will sometimes use my white charcoal pencil. You can also just pull lead up from the paper. And to keep the shadow, because this is round, isn’t it? So really I’m just… I’m just creating value… and soft around here… on a ball And then there’d be a little bit of Shadow that comes along this lid. It’s kinda dark here. So I will press that down. I’m just looking for the values. When I do pencil studies, When I shape out these values, and I think about these things It helps me… I’m gonna darken this outer corner… because I’m looking at it, and it’s quite dark here now.. So I’m layering. Instead of just pressing harder, I’m layering my lead. The other way I can deepen this value, is if I go to a softer pencil, like if I went to a 4B. I don’t really need to, and in this particular case a 2B is gonna do a lot of work for me. On my eye, obviously the darkest part of my eye is this fabulous deep iris. And this is a fun thing to do. Because I can really press down on the pencil and drop lead. And I can show off to you, how dark this can get. You can do this with lined paper, and a school yellow pencil you really can. You just may have to layer more and adjust to the values or your pencil may not get as dark. But don’t let your budget or your circumstances stop you from drawing. There, pulling this here. Just making sure I don’t have a secondary soft field in this particular iris. So I can go all the way dark. Ya know, All I’m looking for is where is my darkest, where is my lightest. Now, above my eye… is quite dark here. Gonna go back and darken that back up. Coming down And this value right here is getting darker. See how it just starts to pop very very quicly One of my problems as an artist… is that I don’t use a bridge. Especially my drawings. A bridge is a handrest So you can study your hand. It keeps you off your paper, so you’re not getting… see this right here? You can make them, you can buy them… I don’t bother with them, because I’m studying a painting This is for … In my opinion when you’re doing art, whatever you’re doing, Iteration and studies help you. Doing it more often… if you can go eveyday, I don’t care where you’re at in your art journey, if you can art in some way everyday, it’s gonna make the biggest difference to who you are as an artist. Really sorry I wasn’t able to go live today. We had quite a lot of storm and hopefully, this will help. I’m listening to it rage outside. Just darkening this. One thing I like to say is, on light eyes… not on all eyes, on light eyes often there’s two kind of dark areas… there’s the shadow dark area right around the iris, and then this outer ring. around the pupil. When I’m drawing them a little more in my right brain, I find language is more challeging Language… it’s hard to language. I’m gonna show you another way to lighten up, so I’m just lightening my pressure here I’ll come back through… and you can remember… you can come through with an eraser, but the problem with this eraser, observe this, see? These little bits here You’re trick to solving that is, these little gummy guys I cannot keep these in my house I’m always having to buy two packs Um… this is just a kneaded eraser It’s like clay Hopefully I don’t have to use my teeth to get in it, because then everyone will yell at me. Here’s why this is the most brilliant thing… and why I think it’s worth, like continuing to get them, even when my kids keep taking them. It doesn’t leave any crumbs. and I can shape it, see? to an area. That’s why I love them. It’s great to have them on hand. And they’re another way that you can get value control in your drawings. So soft pressure, don’t do as I do about resting your hand on the paper I have to, there’s just no way for me. I’m gonna just add a very soft graphite value to this whole area. So we don’t do a lot of drawing on the channel, we teach painting. Um, which hopefully you caught, I mentioned it at the beginning and I hopefully remembered to mention it at the beginning. But I think that drawing and watercolor studies, and these things have value for a painter. When they’re trying to decide how to lay down their paint on their canvas. Now, this eyeball, Im noticing here Has a bit of an angular shadow happening. So, I’m gonna keep darkening that. Keep darkening it All right. Now I’m gonna add another soft… there Right under here. Coming over here, I know I’ve got a little more dark around this eye Lay that in, and then I’m gonna start pulling this down. Just layering. mid pressure here, real light value between this and this So I’m gonna be very soft in my pressure Barely pressing, you can see me going back and forth Pencils may be one of the most beautiful medias in art Um… it’s certainly one of the most enjoyable to do. It requires the least of your ya know, media and artists, like you can just do it anywhere you can bring good paper with you easily, you can bring a good pencil with you easily. And have the ability to art wherever you are. The issue with pencil for artists, is, is that unfortunately … I’m gonna put that in… sometimes for professional artists its hard to get the value for pencil work that say an oil painter gets on a canvas. You have to work a little harder to get those price points So, you know, so you don’t get to see as many non-graphic um, pencil artists out there. A lot of the pencil artists are in the graphic and illustration industry, because that industry undrstands To pay them. And it’s harder for graphite artists to make it in the Fine Art world. Not that they don’t, they do it’s just more of a challenge I’m sure. Ever run into one, they’ll have some tales. The issue being, I think, that it’s works on paper sometimes, don’t always price out as well, and they are costly to frame and so there’s just more of a barrier. See how this just picks everything up? Right off my hand just my friendly little dude. Right, so we’re getting these values here… still have a darker value… I feel like I’ve got to lay down right here. Bring this down into a point. Here we’re going Just working it I know, Now, I’m going to lay a soft, soft, soft, soft value here. Just softly, notice I’m just coming across my previous line Just rubbing… I’m just trying to catch the paper with my pencil. If you’re doing this with a harder pencil, You’ll get a lot of lines and you won’t get the soft blend and you’ll think it’s you, but it’s not you. It’s just the tool. Just the tool I promise. Adding that shadow. See how this eye is just coming in? This is what we’re paying attention to, when we’re painting we’re paying attention to the same things, but sometimes we’re so busy trying to get the brush loaded and the color mixed that we stop seeing the value and that misses the value in…the value sketch. Right, so I’m doing pretty good here. I will, use my little gummy guy right here, and here and pull some light area pressing it down. Just something that I need. Right there. You can go all day you could just be, like I’m gonna spend “What are you gonna do today?”…”I’m gonna spend the whole day doing a pencil sketch.” It’s fun, I’ll see you soon. Ya know, so this has this nice sort of thing but there’s a shadow here Now, either I’ve got to erase my highlight in here Or draw it out like I did over here Or, add it back in with something white… which this isn’t gonna do great, I’d need to be on pound paper So I’ve gotta make sure that I leave myself some reflections Some reflections, because I have them here. So there needs to be a little reflection here and I think there needs to be one here. You just need to have reflections, they’re important. So across here, one of the things that you’re gonna see is this will be quite bright, and then there will be these eyelash reflections in the shadow It’s a good time to sharpen. I, uh… have one of these, that has a lot of …nope… I’m always dropping shavings on everything. Follow the arrows. It has a lot of different hole openings that I really need to empty. It’s a useful tool. Paying attention to the curve here But that’s telling me what’s going on there come underneath here drew that drew that just observe it. See, I’m just I’m just observing this. All I’m doing… Now up above this, I’ve got a lid and the lid’s gonna have highlight generally around here. And, then the crease is gonna be in shadow depending on where the lighting is This can be the highlight And we’re gonna say just in general that’s going to be that brow bone right there. And we’ll have this more in shadow than this. If you’re just practicing these shapes, it’s a good way of doing it. I’m gonna just softly, with my pencil put in a value study here. I’m gonna say this is a soft gray, I can always add to it. It’s good sometimes to change directions. Lots of ways to get this in, you’re just trying to say Hey! I’m see the value (singing) Everything you do in a pencil, impacts the result. Every line, every texture. So just keep that in mind. Ya know, and again… like I always say… this is just a scale drawing, it’s just a scale… it is not where art stops and starts Lots of artists don’t draw. Lots of amazing artists… lots of medias in art that don’t require drawing The only thing art requires is you. And this is gonna be my lightest area of my pressure. This is real fun practice because how light can you make your pencil I think is always interesting Of course, you can blend with a tortillion. We’re gonna just use our pencil and paper today. Just our pencil and paper. Why am I not blending with my fingers? That’s a very tempting thing to do, isn’t it? Blending with your fingers darken that up here above the lid. The reason I don’t blend with my fingers is the oils in my hands are damaging to the drawing. And so, while it’s tempting and enjoyable to smudge and blend with fingers it’s a good habit to get out of if you can. if you’ve blended with your fingers don’t be like, “oh no” I mean… when we’re talking about it’s damaging to the paper or we’re talking over a span of time, that you’re not gonna care about just conservators, you’re just really trying to think about those things. These are just habits to change. For the purposes of this drawing don’t panic. Just in general, in art don’t panic. Hopefully, you guys are still with me here, on this sketch. Right? So, I’m just gonna be light, above the lid here. Just light above the lid. And just layering and adding values Now that I kinda know where everything is… I can clean up around my drawing if I want to… this isn’t, ya know for anything other than … I’m thinking about eyes this week Eyebrow hair, what we talked about earlier. Hairs are not wooly, one of the tricks to hairs, eyelashes… is when I press this stroke, I press it harder and then release. That helps give me kind of like that hair follicle feel. I’m also going to make sure that while I do have an overall hair direction… Right? I’m not so married to it I can’t see what I’m looking at. As I come on the edge here, it’s gonna taper down. How would you pluck your eyebrows, I guess is the question… right? What I’m not coloring… is a solid line. I’m gonna make sure I’m pretty sharpened, and then I’m gonna put some eyelashes in. Right? So, if you were doing hyper-realism, you’d want to really represent the lashes that are curving over here. Right? And I’ll show you the curve… Everything on the eye is in perspective, right… so those that are here, would curve like this And then you end up with these four shortened ones, that you don’t really generally see all that well. And then as you come to a certain point in the eye, they start to come back that way. See? So there’s usually an apex in the lashline Where things are foreshortened and shorter… and then get longer as they move away. Lashes make everybody crazy. People just want to kinda do that… and you don’t want to do that Here’s a lash. You’re gonna drop a mark, and you’re gonna curve it and flick it out. And what you’re not gonna do, is make a neat little row This isn’t corn. These are little, delicate hairs, designed to protect a very important organ in your body. So they’ve got to protect this organ, and also not irritate it too much. Think about that. It’s interesting. So, I’m curving Right? And I’ll start to curve out a little bit over here, into the eye. And they’re getting a little too in line with me, so I’ve gotta come back and break up that line, don’t I? They’re gonna be shorter over here, and longer at this outside edge Just gonna say that there’s some more eye under here. It’s gonna be the lightest right there, so I don’t even need to put pencil And there’s a little shadow always under this part of the lid. And generally, ya know the reflection because this is quite rounded. You don’t need to go crazy with it And when I’m doing these lashes I’m paying attention to those same things. And that I’m coming along… where do they grow out of? They grow out of a little range in here. This is all really do-able stuff guys. And it doesn’t really matter how you’re drawing it today. Doesn’t matter how challenging it is today. That’s the hardest thing to explain to new artists, is not lines or values or how things are shaded But, that how you’re working today has nothing to do with where you’ll be in six months. Add more value to that. I like to darken that corner a little bit. So as you’re going, you’ll see stuff, and you’ll be like, oh… this needs to be darkened. Just find … keep working your piece, and keep resolving your value sets as you go. Because that’s all you’re doing. Just having a good time and all this will be a little bit in shadow it gets… a little bit brighter over here>If I could like come back with some, like high white, that’s really useful. Here we go, I think that we have Had a little study of the eye, we’ve looked at the parts and the shadows. We’ve thought about it. It helps us get ready To get that done. So it’s just not that bad. You just do these all day, and in fact, Your mini-quest…is to look… grab some pictures of some eyes that are different shapes than this… maybe a little bit. Maybe they’re a little round Don’t try to go for expressions, but just go where the eyelid is maybe deeper, or less shallow, or the eye shape is different and try a couple more pencil sketches and see if you can start getting a sense of these values Because when you go to paint it It’s gonna make it easier. I’m sorry I couldn’t be live today, but I hope this little makeup quest was helpful. and I want to see you guys at the easel really soon… Especially for the About Face Big Art Quest. Because we’re facing it. I’ll see you guys really soon, bye-bye (CLOSING MUSIC)


Add a Comment

Your email address will not be published. Required fields are marked *