How To Draw Eye Step By Step

In this lesson, we'll take a expect at how to draw an eye. We'll cover drawing eyes from both a frontal view as well as a side view (or profile) with graphite pencils and also white charcoal. 3 step by footstep examples are included, so be sure to scroll downward to see them all.

The eye has been said to be "the window to the soul". Sometimes we tin look at just a person's eyes and know exactly who they are.

The procedure is adequately straight-forward. Subsequently drawing out the bones contours, nosotros'll gradually develop the tonal range of the centre. To create the representational effect that we're after, we'll gradually build upward layered applications of graphite to develop the value and the texture.

Drawing Eyes with Pencil

This lesson is focused on teaching you how to draw eyes with graphite pencils. Of course, the approach that you have is different according to the medium that you choose to utilise.

If you'd like to accept a await at how this process is different using dissimilar mediums, and so the following lessons may exist helpful...

• How to Draw an Eye with Colored Pencils
• How to Draw an Eye with Pastels
• How to Paint a Realistic Eye with Oils

If realism is your goal, then patience must be skillful. Only like other art-making mediums like colored pencils or pen and ink, graphite applications must exist patiently layered and deliberately practical.

Textures develop through layered applications of graphite of varying hardness. Harder pencils, which produce lighter marks, are practical first. Softer pencils are applied on top, pushing values darker. If the softer pencils produce unwanted textures, and so additional applications of harder graphite tin can be applied, working the material into the molar or texture of the paper.

Materials For This Lesson

For this drawing lesson, a serial of graphite applications are patiently applied on smoothen Bristol newspaper. This surface creates smoother transitions of value, but easily smears.

How to Draw an Heart - Stride by Step

Here are the steps that we'll take to describe a realistic eye. Each step is broken downward in more than depth beneath. It'southward important to be patient - creating a realistic illusion takes time...

1. Draw the contours (outlines) of the eye.
2. Shade the iris and pupil.
3. Shade the whites of the eye, tear duct, and eyelid.
4. Develop the skin texture around the centre.
5. Describe the eyelashes.

Pace 1 - Draw the Contours (Outlines) of the Eye

We'll begin the drawing by lightly and loosely cartoon the contour lines of the upper portion and lower portion of the shape of the eye, leaving open the location of the tear duct. We'll starting time with the "H" pencil with very little pressure. Inside this shape, we'll draw the shape of the iris, educatee, and a shape for the strong highlight that overlaps the pupil slightly.

It'southward perfectly acceptable to describe with many light lines at this stage. We'll progressively place heavier pressure on the pencil as the cartoon develops, which will atomic number 82 to darker marks and values. Be patient and focus on capturing the shape of the centre.

Footstep ii - Shade the Iris and the Pupil

Side by side, we'll brainstorm the ho-hum process of layering values, starting with the darkest values within the pupil. Care is taken to preserve the highlight as darker tones are developed. This highlight will create the illusion that the heart is wet, so it's very important to preserve this surface area. It's much harder to go back and erase out a highlight when working with graphite.

The pupil will eventually exist the surface area of darkest tone within the drawing. We'll slowly build up the dark values here. By slowly layering darker applications, nosotros have greater control over the values produced and we tin can potentially avoid "graphite smoothen". Graphite smoothen happens when heavy applications of graphite are applied and flatten the tooth or texture of the newspaper, resulting in a very shiny area of graphite.

Within the iris, marks are made radiating from the center. While virtually of the darker marks are linear, a few form organic shapes. Past gradually adjusting the values in this area, we can begin to create a more realistic appearance. The iris is actually made up of two closely layered sections - the stroma and pigmented epithelial cells underneath. By gradually adjusting values, we can develop a subtle, three-dimensional advent.

The outer and inner portions of the iris are developed with slightly darker values.

While the "H" pencil lays the background, we'll need to start pushing the values darker. A slightly darker and softer "HB" pencil is practical to progressively darken the values in the student and the surrounding iris.

In whatever eye that you draw, there will be inconsistencies and unusual shapes. You may discover modest spots of darker tones or wavy lines. We'll need to include these details in social club to create a drawing that is realistic. Nosotros'll begin to develop these "imperfections" with the HB pencil over the lighter H applications already in place.

The texture of the iris is smooth and this should be reflected in our drawing. Although the surface of the newspaper on which nosotros're working is already very shine, the texture of the newspaper is nevertheless evident. This ways we'll need to modify the graphite applications to create a more natural illusion of texture.

A blending stump is gently used to soften the texture. The blending stump is pulled in the aforementioned direction every bit the strokes made with the pencil to preserve the pattern of lines and shapes within the iris.

Later on the blending stump has been applied, you lot may find that the contrast between the values has been muted slightly. If this is the instance, you tin revisit the iris with the HB pencil and restore some of the contrast lost. Doing so volition but create additional depth to the drawing.

Now that we have a base application of lighter graphite in identify, nosotros tin switch to a darker graphite pencil. In this case, a General'south Layout pencil is used. This pencil is equivalent to a 4B pencil in darkness - however, it is relatively hard, meaning that information technology keeps a sharper indicate for a longer menses of time.

We'll then continue to slowly build up darker values with the darker pencil, making sure that we continue to preserve the potent highlight that overlaps the iris and the student. Every bit we continue to develop the darker tones, the dissimilarity and range of value increases in the drawing.

Step three - Shade the Whites of the Eye, Tear Duct, and Eyelid.

Later darkening the values of the pupil and iris a bit farther with the darkest graphite pencil, our attention at present turns to the other areas within the center. A gentle awarding of the "H" pencil is applied to the "white" of the eye on the correct side. Remember, the eyeball is a sphere. This means that the values volition exist slightly darker on each edge of the eyeball. In this example, we see that the shadow is rather strong on the right side, since the light source is originating from the left.

The tear duct is likewise darkened, leaving hints of lighter value within. This area is also wet, and the preservation of stiff highlights here will help to create this illusion.

The meridian eyelid overlaps the eyeball. In near cases, the light source originates from in a higher place, producing a shadow just underneath the eyelid. A cast shadow tin likewise be found on the eyeball, just underneath the eyelid.

The underside of the eyelid is darkened and the crease above it is enhanced. The same process of layering graphite applications is followed - "H", "HB", and "Full general's Layout Pencil". As graphite is added, we tin can blend applications with the blending stump, softening the texture.

Step 4 - Develop the Skin Texture Effectually the Eye

A few visible wrinkles are added on the left side of the upper eyelid pucker, before adding a low-cal awarding of graphite on the skin beneath the eye. The textural development of the peel underneath begins past making small shapes, isolating subtle areas of lighter value.

Equally we accept thus far, we'll slowly build up applications to progressively make the values darker and build upwardly the illusion of texture. A lite application of graphite is applied here with the H pencil.

The contrast inside the areas of peel texture is enhanced past progressively making the shapes a flake darker with applications made with the softer graphite pencils. With a slightly greater range of value, the texture of the peel becomes more realistic. As this happens, areas around the center are also darkened, resulting in more contrast between the center and the skin around information technology.

This process is repeated to develop the illusion of skin texture to a higher place the eye.

Step 5 - Draw the Eyelashes

With most of the layered graphite applications in identify, we tin can add the eyelashes. With a sharpened "HB" pencil, bold lines are pulled out from the skin. These lines by and large curve downward and then upward for the top eyelashes, with a few lashes bending in unpredictable ways. For the lesser lashes, the opposite is true. The lines are pulled upward so downwards. They are less concentrated than those constitute along the top chapeau.

Using the "H" pencil, a few indications of veins within the eye are added to consummate the drawing.

Draw an Centre with Graphite and White Charcoal

Now that we've had a expect at the nuts of drawing a realistic eye with graphite solitary, let's accept a look at some other case. In this 2nd instance, we'll over again draw an eye from a frontal view. The following examples come from the course, "Portrait Drawing the Smart Way". Bank check out the course for instructional videos and ebooks that break downwards the drawings in more depth.

The Reward of a Toned Cartoon Surface

Before, we practical graphite pencils to a white surface. Because we were adding dark material to a white surface, we were constantly working to darken the values. Highlights were created by leaving the white of the newspaper "open up", or by applying light pressure on the pencil before blending.

When graphite is applied to a white surface, we start at the height of the value calibration (white). We so have to work the values towards the lesser of the scale in society to create a full range.

This approach is perfectly adequate, however you may notice that working on a toned drawing surface gives y'all an advantage.

When we work on a toned surface, nosotros can button the value range in the cartoon by starting close to a eye value. This means that we tin use a white cartoon medium to add the highlights, instead of relying on the "white" of the paper.  This arroyo allows u.s. to push the values from the middle of the value scale instead of working from one extreme, like white.

This is why many painters choose to apply a "ground" (a base color other than white) to an empty canvas. It provides a value or tone from which to begin work. With painting, colors and values can be compared to the colour and value of the basis every bit they are added, allowing the creative person to make better decisions about the values every bit they paint them.

On a greyness drawing surface, we kickoff with a gray "ground", much like a painter may choose to do.

Identifying and Cartoon the Contours of the Eye

We'll offset this drawing in the same style that nosotros began the last. We'll outset evaluate the contour lines or outlines of the eye. We'll look closely and study the angles and curvature of each of the lines that should be included.

We'll also expect for spacial relationships betwixt the "whites" of the eyes, the pupil, and the eyelids. By making comparisons, we can be more authentic with our initial marks.

Shading the Eye and Developing Highlights

With an understanding of the contour lines, we can begin to make marks with a lite H graphite pencil. We'll draw the profile lines of the pupil, iris, and eyelids. We'll also mark out a shape for the potent highlight. Information technology is this highlight that will make the eye announced wet.

To make the values slightly darker, we'll switch over to an HB pencil. The pupil is usually the darkest area inside the eye, but you may detect that some shadows are also rather dark. We'll gradually push the values darker. By progressively layering darker and softer graphite pencils, we take consummate control over the values. We tin e'er make values darker if needed - merely if we get too dark, too apace, and then information technology'south difficult to opposite.

Equally we develop the darker tones found within the iris, we'll pull strokes towards the pupil. The pressure placed on the pencil is varied in order to create variety in the tone. This results in a design that closely resembles the blueprint of color that we notice on the inside of the iris.

To smoothen the application, a blending stump is used. Directional stroking is important with the blending stump. Strokes should be pulled in the same direction as the pencil applications.

Subsequently addressing the tear duct, we'll gradually work our manner to the eyelid and surrounding skin with the HB pencil, blending applications as we go. In this case, the peel around the eye features a diverseness of different tones and small-scale imperfections. We'll vary the value in areas in order to create this illusion.

At this point, it's fourth dimension to start pushing the values fifty-fifty darker. We'll switch over to a 2B pencil, which is darker and softer than the HB. The pupil is darkened, again leaving space for the strong highlight. The darkest shadows under the upper eyelid and the pucker created past the eyelid are darkened.

Since we're working on toned paper, we have the benefit of adding highlights with a white drawing medium. In this case, a white charcoal pencil is used since it can be blended with a blending stump. The strongest highlight on the centre is addressed beginning, applying heavy pressure on the pencil. So with lighter force per unit area, we can brainstorm addressing the areas that are lighter in value, including the "white" of the middle.

Just equally we did with the graphite applications, we'll alloy the white charcoal applications with a blending stump. Not only does this eradicate some of the texture produced past the paper, simply it helps to create transitions of tone between the darker areas and lighter locations. The strong highlight in the eye is not blended since nosotros want this area to remain strong.

Now nosotros'll bring some of the white charcoal to the pare around the eye and gently blend the material with a blending stump.

Nosotros'll also add some of the strong highlights that occur on the bottom eyelid. Just as the highlight added within middle made it appear wet, these highlights serve the same purpose. To ensure the highest level of contrast, we'll avoid blending these locations with a blending stump.

Then, with our initial highlights in place, we'll switch to an even darker, 4B pencil. We'll brainstorm pushing the dissimilarity, starting with the darkest locations in the educatee.

How to Draw Eyelashes

Once we've established some of the darkest tones, nosotros're prepare to draw the eyelashes. This part of the process tin can seem intimidating since we'll make marks over portions of the eye and the surrounding skin. Yet, there is a method that we can use to ensure that our eyelashes appear realistic.

This method involves thinking of the middle as quadrants. By dividing the eye into four quadrants, nosotros can make decisions concerning the direction of the strokes for each eyelash and the direction of these strokes.

In quadrant 1, nosotros should wait to run into the longest and darkest lashes. Stokes made in this quadrant volition dip downwardly before extending dorsum up and to the right. The eyelashes are the most dense and frequent in this quadrant.

As we well-nigh the center dividing line, the strokes begin to go more than vertical.

Quadrant 2 has the second most number of eyelashes. In this quadrant, the strokes dip downward earlier extending back up and the left.

In quadrant three, we see less eyelashes. They are more sparse and much shorter. We can often notice a spacing created by the lower eyelid of bare skin. The eyelashes in this quadrant bow upward slightly before extending downward and slightly to the right.

Quadrant 4 has the least amount of lashes and in some cases, you may notice that this surface area is completely void of any eyelashes at all. Eyelashes that you detect in this quadrant bow upwardly slightly before descending and slightly extending to the left.

By breaking downward the eye into four quadrants, we can arroyo the process of cartoon the eyelashes with more conviction.

Detect a place to begin that's comfortable for yous. In this instance, we'll kickoff near the center, in quadrant 2, pulling strong strokes downwards and slightly to the left. Nosotros'll gradually piece of work our way across the upper eyelid, using a sharpened 4B pencil. Vary the direction of your stroke, allowing it deviate slightly from the formula nosotros discussed.

Afterwards working our fashion beyond the top of the heart, nosotros'll accost the eyelashes found on the lower lid. Again, we'll start on the left side, in quadrant 4. We'll piece of work our manner beyond, leaving a visible portion of skin between the heart and eyelash.

How to Draw Eyebrows

The eyebrows are simply smaller hairs that extend out from the skin above the eye. Just like eyes, eyebrows come up in many unlike shapes and sizes. It may be helpful to lightly describe the shape of the eyebrow before drawing any of the actual hairs. After defining the shape, we can make deliberate strokes with a sharpened 4B pencil, pulling out each stroke.

Closer to the bridge of the nose, these strokes may exist nearly vertical. As the eyebrows extend outward, the hairs usually become longer and more than horizontal. Again, we'll vary the stroke. Some marks should be darker and thicker, while others could exist slightly thinner and wispy.

Softening the strokes with a blending stump makes the eyebrows appear more realistic. Just as we did before, strokes fabricated with the blending stump should period in the aforementioned direction as the pencil marks.

Finishing Touches

Now we'll complete our second drawing by calculation a few additional highlights with the white charcoal pencil. We may choose to strengthen the highlights in areas to increase the contrast and augment the range of tone.

We can too look for opportunities to make the values darker in areas. We can revisit areas such equally the educatee and shadow nether the eyelid with the 4B pencil. Nosotros'll continue to push button the relationships of the highlights and shadows until nosotros're satisfied with the range of value, dissimilarity, and texture.

How to Draw an Eye from a Side View (Profile)

We don't e'er encounter the middle from a frontal view. In fact, in many portraits, the eye is positioned in a different identify depending on the angle. For this reason, we'll take a slightly different approach. The steps involved are like, just slightly dissimilar.

Using a Mini-Grid

To better empathise the positioning of the contour lines, it may exist helpful to sub-sect the subject into a mini-filigree. Y'all can do this by simply drawing 2 intersecting lines over your reference photo. Draw a vertical line so that it overlaps the educatee. Then depict a horizontal line from one corner of the eye to other. Depending on the angle of the center, you lot may be left with a skewed grid. This is fine since you can all the same utilize these lines to brand comparisons, which is the purpose of the grid.

Using the intersecting lines as a guide, we can depict a few more than straight lines to designate the outer edges of the eye. Diagonal lines are drawn from the summit and bottom of the middle to each corner. Drawing the mini-grid is completely optional, merely it may be helpful if yous observe it difficult to locate the contours.

Now we tin can begin drawing the contour lines. Be sure to describe shapes for the pupil, iris, tear duct and the strong highlight. Since the eye is viewed from an angle, the shapes of the pupil and iris will not be circles. Instead, these shapes are ellipses, which is a distortion of a circle.

Later on drawing the profile lines with a calorie-free, H pencil, we can begin adding some of the darker values. Initial applications tin exist fabricated with an H or HB pencil. Showtime in the locations that are the darkest, making sure to preserve the areas of strongest highlight.

For the patterns of the iris, nosotros'll again pull strokes from the pupil. In many cases, the tone becomes quite dark around the outer edges. You may utilize a darker pencil hither or only apply more pressure. Nosotros'll also be sure to add a cast shadow underneath the eyelid. To eliminate some of the texture of the newspaper, we'll use the blending stump to smooth our applications as we go.

With our initial darker tones in place, we can begin adding the highlights with a white charcoal pencil. We'll commencement with the strong highlight that overlaps the iris and the student, applying heavy pressure. Equally nosotros did before, we'll apply less pressure level equally we address the lighter values of the "whites" of the center, the tear duct, and the surrounding skin.

Again, the blending stump is used to soften the texture. To make the eye announced wet, additional strong applications of the white charcoal are applied to portions of the "white" areas along with a couple of marks applied inside the tear duct.

After adding the lighter values, we can go back with a softer 4B pencil and make some of the shadows darker. This makes the highlights appear stronger since the range of value is increased.

Now we'll add together the eyelashes. Nosotros'll demand to think about the angle of the eye in order to create convincing eyelashes. Logically, the strokes created for the eyelashes should dip down and extend back up slightly. But from this angle, you'll notice that some of the top eyelashes may not even make it support to the eyelid. We can encounter this in the paradigm below. Detect how the top eyelashes on the right side of the eye but extend down and slightly to the right.

You lot'll as well notice that we can see a bit of the skin of the upper eyelid on the left side of the eye. In other words, the eyelashes extend out from the eyelid, non the eye itself.

In this instance, nosotros can clearly see that this also happens for the bottom lashes. Again, allow some multifariousness in the strokes. Some should be longer, while others are shorter. The strokes should likewise change management slightly.

In lodge to increase the dissimilarity, yous may notice that you need to revisit areas with darker and lighter applications to stop the drawing.

The Location of Eyes on the Face

At present that we've had a comprehensive look at drawing an heart, let's briefly discuss the location of the optics relative to the caput.

Since the eyes are clearly positioned on a face up. You may check out this lesson on drawing a face...

• How to Draw a Face

It is often assumed that the eyes are positioned at the top of the head. Instead, the eyes are found in the middle of the head. If we draw a line from the elevation of the head (excluding the hair) to the bottom of the chin, we can expect to find the eyes in the middle. This assumes that you're looking directly at your subject field. If the head is tilted, or viewed from a different bending, then the positioning will as well be dissimilar.

The Size of the Eyes

Just similar with any of the other facial features, your eyes demand to be proportional to the head. An easy manner to ensure that your proportions are correct is to draw 5 light ovals that lucifer the width of your eyes across the face from the end of ane ear to the other. Most heads are approximately "5 eyes" wide. If you lot find that you tin fit more ovals in this space, then your eyes may have been drawn as well small. If you cannot fit 5 ovals across this width, then your eyes may have been drawn too big.

Terminal Thoughts on Cartoon Optics

1. Look at the eyes that you are trying to draw - I know - this tip seems pretty obvious. But many people endeavor to draw what they think they see, rather than what they actually see.  Look at the shapes, lines and values and practise your best to copy that info on your paper.  Don't call up well-nigh drawing eyes, retrieve about drawing shapes, lines, and values.

2. Remember that every heart is different - No ii eyes volition ever look the same.

three. Eyes are their ain unique shape - Eyes are Non ovals and optics are NOT football game shapes.  They accept their own unique shape that you must recognize. (See tip #1)

4. Eyes take a full range of value - Near anything that you draw or paint should contain a full range of value.  Optics are no different.  If you need to use a value calibration to ensure that you have used a full range of value - then do information technology.  The darkest darks and the lightest lights should all exist at that place.

This lesson explored cartoon a realistic eye with graphite pencils. And while many of the concepts that we covered here conduct over to other drawing mediums, it may be helpful to see how this process is slightly different when a different cartoon or painting medium is used.

How To Draw Eye Step By Step,

Source: https://thevirtualinstructor.com/Graphiteeye1.html

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