Drawing realistic eyes - Portraiture Art | G-Code Tutor | Skillshare

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Drawing realistic eyes - Portraiture Art

teacher avatar G-Code Tutor, Engineering Artist

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

5 Lessons (53m)
    • 1. Right eye part 1

      10:58
    • 2. Right eye part 2

      11:01
    • 3. Left eye part 1

      11:58
    • 4. Left eye part 2

      11:31
    • 5. Eyebrows

      7:17
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About This Class

Professional portraits artists draw lifelike realistic eyes by understanding the correct techniques and plenty of practice.

This class teaches you the techniques they use, The practice part is up to you.

With the use of shading, you too can draw eyes on a portrait that look not only real but stunning.

 

Meet Your Teacher

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G-Code Tutor

Engineering Artist

Teacher

Hello, I'm Marc.

I have studied engineering and portrait art for over 26 years. A strange mixture indeed.

See full profile

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Transcripts

1. Right eye part 1: in this lesson, we're going to start looking. That's drawing the right eye that's writes to us. It's her left eye. So as I do this, I'm using soft pencil When we select a four B. I like drama four B. It's one. My favorite pencils. I'm We're just gonna go over and start as in a little bit of shade, check in my reference picture, and then we're going to slowly build up the I. Now the pupil is always the darkest parts of the portrait, so we need to go nice and hard with pointed parts. Are pencil on this? Andi, I'm just sketching out around the outside of the actual iris to I'm just getting pence on paper at this point, just showing where the dark patches are and gradually build it up on work on each area separately, I'm just kind of sketching on top of my main drawing layer. The latest I'm using here at the moment is I have my background layer, then my shading layer on top. Then, on top of that, my sketching layer, my sketching layer on my background layer, both locked so they actually accidentally draw on them by mistake I often draw on the same layer because I'm used to coming from a medium of using pencil and paper Dished. Drawing is a new thing for me, right? So if this I unquestioning working a different darker areas, the eyelid is very important because without it just does not look realistic. But at the same time, a lot of it is covered up by different shadows and eyelashes. So we need to be mindful of that as we sketch it him during the island dark by using a soft pencil and pushing harder when we blend it, it gives a shadow each side of the aisle. It makes you look a lot more realistic, Bayliss and minds when it when you come to drawing this part of the eye, I'm just cross referencing with my reference photo. Somewhere dark patches are and start, You sounded more pencils. That area. Now I'm pushing quite hard on my pencil because this is one of the darkest parts. The portrait. Hello. When we blend it in, it becomes lighter. We then add more pencil again to keep that darkness there. I takes normally blends there. People are only draw like straight for the pencil on. Be careful. That's I don't leave any white lines with inside the the dark areas. No, I'm just start going up the different areas. After I've blended up the eye shadow, I'm adding more dark pencil to it again because we want that to be really dark. When you blends using charcoal, it's more noticeable. How much leaves the paper as she blends. Sometimes even a mixture of charcoal and pencil is a good way to draw on paper As we draw the eye, it's best that we also draw the surrounding skin texture at the same time. When we come to do eyelashes, we're gonna need to draw over the top of that skin texture, and it's very hard to add it behind the eyelashes. Elected time. Now I just want to add some shading around the eye on the eyelashes. Do come out quite far. Special air. It's a girl's picture withdraw, and they tend to have larger, thicker eyelashes. So I'm just adding pencil slice area. Using a crosshatch technique. I'm drawing lines predominate in one direction, but where I need to go darker, I can draw lines of 45 degree angle slaves lines, and that gives us some areas where we can increase the darkness. The hair are mostly drawn lines in the same direction and then blends in it in and Adam or pencil on top and then blends and at in its give me the shade of grey on black that I need to achieve. So at this stage, I want to start looking at building up the tones around the eye now, so we get the full picture of what the is going to look like. If we just draw nigh on top of what we have at the moment, it wouldn't give us a good impression of how it's gonna look when we finished. So I want to add to shading around the eye the mascara, that different makeup on the shade in up against the nose, as well as any lines and shading on the top of the cheekbone under the eye. This is just done by adding pencil to the paper, sometimes crossed action, sometimes in the same direction and blending it in, then building up our layers off darkness by and more and more pencil or charcoal to that area. If you're drawing pastoral, it's the same technique. You can still keep adding to the area to build up the contour and the shading. This is how we achieve a free dimensional effect here. I'm gonna have my Ferg layer of pencil on some of this to really get area dark. Once I got the shading rights on this high, it sets that standard for the rest of the picture. So if I can now the right shade on this I Then I will compare the rest of the picture to the shading here so I could make sure everything looks the same. That way, we don't end up with a really dark nose and really light eyes. We're looking for continuity here finally, was starting to add to the darkest layer, which is where the mosque, our hits. So now that I'm reasonably happy with shaving underneath the eyebrow and above the eye on in the corner of the nose, we can really start looking at the darker areas and build upon them so I can get the full depth of the I. And this is all before start on the detail of the eyeball really blocking in those dark colors. Now I'm using the five B pencil for this now, pushing really hard with appointed sharp pencil. Ideally, a charcoal pencil would be good for less. But if you're using a charcoal pencil, be sure to use a blending stump so we don't see any white lines come and below the charcoal . No, I really want to start out in that dark time. So still, using my five B pencil of a shop in point, I'm gonna do a crosshatch technique around the dark areas and push really hard on the pencil. I want to get lots of dark paints on there. I'm really, really dark enough. This area now are using the blend in stump and blends that crosshatched together and it really start toe. Give us that dark shape that I need. I drink safe from the upper eyelid. Here's part of it is doesn't disappear, which is fine. That was intentional, Andi, where I've added my blending stump over the line. It gives it a free dimensional look, so it looks like it's inside the skin. The technique to this is just blending the sharp line with a blending stump, and it gives that effect. I'm not too worried about this look too messy, that's all could be blended out. Any mistakes can be blended. It's much better to blend it than try to using a razor. A soft party razor is good sometimes, but we don't wish to remove any background. So we don't want to see white again on our paper because it's really hard to blend that white out. And I would always leave a mark on the drawing. So I would rather correct mistakes using the blending stump, landing a razor, even a soft party a razor while I'm on the subjects of using a razor. If you are used in a soft putty razor weaken, dab the picture Raval in rub. This way, it just lifts off charcoal or pencil off the paper. It doesn't smear it across other parts. And that way we also don't leave any white marks on our paper. So if you are gonna using a razor to remove charcoal or pencil, just that tab with a soft putty, a razor. Now here I'm still adding more lays of my five B pencil, and each time you use my blending stump to blend it in. This way, we're gradually building up Power I and the lights and shades in the darkness just by continuously adding more pencil, blending it and more pencil and so on and safe off. Now, if we do go overboard, we can change our darkness using our pointed blended until Or we can use our finger toe, wipe the lighter shades into the dark or even a party soft a razor to lift it from the paper. If we have too much chocolate or yet another option of correcting our mistakes, will Beach used white chalk or white pencil them? Blend that into the area to make it lighter. That takes away to stress a little bit when drawing. There's plenty of ways we can correct our mistakes as we go on where we're working so close on a particular area. It's easy to see if things out of proportion on a smaller scale, especially where we zoomed in. But when you were working on normal paper and a pencil, you would be looking at least parts of drawing a lot close there. Then you would do when say, you're blocking in the hair. This way we can get our proportions a lot better because we're working closer to the same area, and it's easier to see. And we can also rely on our sketch because we know our sketches accurate because we use the grid system to sketch out in the first place. I'm just blend to never think in now we want it nice and smooth. But honestly, any lines there are any difference in shade. I want everything to gradually fade from one shape to another. Just looked like hits the face in real life. We're gonna leave that there and we move on to finish its eye off in part two. 2. Right eye part 2: in part two of this lesson, I'm going to go into detail on how we do the center off the eye on the surrounding area. So before we start that, I want to add a bit more darkness to the eyelids to get it right before we start, as then eyelashes, etcetera at a later point in this lesson. Now the eyelids. Nine. I'm just starting it up now. Now, if we go over that with a blending stump, we can start adding shade each side of that line, and it dulls the line a little bit, so it's not so prominent. This gives really good free, the effects that the line is a fold inside the skin and not just a black line sat on top. Now we have that in place. We can start looking at doing the iris now. Lots of people have trouble getting a realistic look. With this, I'm gonna show you a technique that I use to make it. It's realistic as possible. Now we need to keep referring to our reference picture because we want to draw. It's almost exact. Every line, every highlights, every light in dark shades. We want to try and match to our picture. So I start off by adding an outline to the iris using the darkest pencil I can get at the moment. I'm using a sharp five B pencil. Now most eyes have a dark line around the outside, so that's what we got to concentrate on first, if we do the darkest areas first, and then we can fade that into the light areas to give us the effect we need from my sketch . I've already outlined where the highlights are, so I'm keeping my line. Direction is going from the center of the eye, out to the outside of the eye. I'm doing this because if you look a tonigh, there is lines going from the center to the outside. Now, as we blur in, these lines in blend amusing are blending stump. This gives the impression of different layers off these lines, and it builds up to give us free the effect of a noble some starting off just roughing out the areas where the darkest lines are before, I'd very gently blend it in. I don't want to blend too much, but I still want some of those lines to come through I need to be very careful with a blank . Stomachs were working in a small area. Now where we have the dark lines on the outside. As we blend that in, it starts to give us the effect off the shape of the I. So I'm not actually adding any gray hair. I'm only working with just pure black pencil. All the different shades of gray come from the blending stump. Now I'm working my way around the eye, blending in a direction from the outside to the inside, always the same way as the lines are going. This is similar to how I also do hair and lips, which will cover later in this course and purposely missing the highlighted areas here. Hello can be added in afterwards with white chalk white pencil, but I will be doing that as well. That's what blending in from the dark areas in doing. Say, I'm using a very fine point blending stump, and this has given us the lines that I want to get without actually draws in the men. So now most of our drawn is done with the blending stump and not with our pencils. We're just using the pencils to get pencil onto the paper than the blend in. Some sculpt in what we want to actually appear. I'm just going on the outside blends in the darker areas now, and I was almost starting to take shape. We're starting to see it looks more like a noble now, then a quick sketch. There's still more layers of pencil I wish to add to give us more detail. So you zoom out and compare it to our reference picture, and I'm gonna have a closer look at the Bible and start as in small detail. Now you can see my schedule A has moved. I need to correct that in a minute with my sketch lines are out of position, but I'm not using my sketch for reference at this moment in time. Anyway, I'm going over the oval again, using the same sharp five B pencil just to add a little bit more detail and had small those lines in again. These lines won't be on the finished drawing. They're they're purely so I can blend in use in the same direction. With the blending stump, I will follow the lines over the blending stump in the same direction of juliam. Keep looking at the reference photo, seeing the areas after darker, where I need to add more detail. If there's any prominence, lines in of in the eye, control out in with my pencil and then use the blending stump to blend it in so it becomes less apparent time or part of the eye on not just drawn on top. I'm just gonna finish off blend in this city before I start work on the highlights or other details. Now we can keep going with this. The more detail we add, a long as we don't over dark in the areas, the better the I will look. So the longer you take doing this, the better and more realistic you can get looking well, as always, the hardest part withdrawn is knowing when something is right or finished. You can add detail forever, and no one would notice it apart from you. And even then three months down the road, you won't notice it, so I'm reasonably happy with the pupil at the moment. We can always come back and revisit it at a later time. So for now I want to add more detail around the outside of the I want to get, like shade in really correct before I start out in eyelashes. So, like we did before a match in some hashing lines and then blends in, attend with my little finger we have to be mowing food at the bottom of the island is lighter then below, so we have to keep that clear, their work in the corner of the eye. Now we can start at a little bit more depth to the islet. I'm just using a fine pencil for this amusing that T b. I don't normally work they assumed in or this close up to apart project. Normally, our draw a portrait from the same source of distance as the viewer would be looking at it. But I wanted to add more data. How for the point of teaching. So that's why I have seemed in more that you can see what I'm doing now. I'm just gonna concentrate on working on that island on the corner of the eye to make things that really realistic on three dimensional now yourself blended in our island, and it gives it look like it's folded in towards the skin which is the effects hours after . And that's just purely done. With the blending stump running over the line, I would start inside in a bit more details the corner of the eye. Now I always and never white. So at the end I'll be adding some shade to the isle board itself, right? Just turn off the sketching layer. So we have a proper look at what it looks like. Now I want start adding the eyelashes. The rest of the I am pretty much happy with at the moment so we can start at in eyelashes on top. Now, the way I do list as I add a few eyelashes, which standouts on the reference picture to get the hope of the eyelash. Correct. So once we've got the most prominent eyelashes drawn in, we can use that his reference when we draw the rest in so we're not going to large or two small of the length of them. Now, each eyelash I'm drawing from the I upwards and flick in my pencil so it gives a thinner edge to the end of the eyelash. So makes you look more like hair. Now, Miss Kara clumps, eyelashes together, so we have to be mindful of this. So sometimes going over the same line a few times, making it thicker at the bottom gives the impression that that lady is wearing mascara. There's only a few eyelashes down the bottom, so we have to be quite careful with these. We don't overdraw them, and where we already have a dark area that we've put him with shade in behind. It helps make the eyelashes look for life. Now, sometimes we might need to blend in that the eyelashes and then redraw them on top of the blended line. But it's not the case with these particulars. Eyes without eyelashes complete. We can now start looking at, as then the wrestler detail to the Aibel. Now, as I was saying, the eyeball needs to look around and it's never white, so we need to fill in very light pencil so we can blur it in to give a free T ball effect. So, looking at the reference picture, we can see what areas need to be blended on where the shading it's on the able without adding this, that I will never look realistic. We can also use white charcoal or chalk toe highlights set in areas of the eyeball. It's unusual that we need to do that unless we go too heavy with our like, pencil shading. I'm just having more shading hair than blends in it. In use my blending stump to move the pencil round. It's where I want it. Nothing. We're finished. We say this size done on the move on So next I 3. Left eye part 1: we have the right I done. Now we're gonna have a look at their left eye. I'm just gonna start. It's out by sketching a little bit more detail on top of my normal shading layer, not using a sketching layer hair. So once you start studying a reference drawn then and in any more detail to the I that I can see that we might need as we progress and start adding more more shading, I was starting off of the people. It's always good to know the people with we now that on the I looks like it's looking in the right direction. Andi doesn't make the person looks slightly crazy, so we have to know where the position of the people is spot on. I'm your sketching in Breda lie. It's gonna hit the eyeball and then start working on the dark lines around the outside. This is just really to give me a reference as I add more more shading, so I know everything is in place. So here I'm just using a T B pencil. Recently, hard to get some more detail insular I, which is still able to blur and smudge at a later date to get the sort effects we need. So it's a preliminary sketch that will be mostly blended into the background and two different shades of gray as we progress on building the I. This gives a good foundation that we can add other shades onto whoever it's pencil or charcoal or pastoral, so we can build up layers to get the sort of texture that we're after for the eyeball. It's a similar process that I used to the right hand side. I know that the eye it's done to take shape. I can now start and more shading around the outside because as we progress and start working away out from the eyeball in the ad, in eyelashes, on different shading were you need the background in place to be had to put that on. So just using the soft pencil I'm using therefore be here. I'm just making a hash lines into the backgrounds, using cross hashing techniques and straight line hatching techniques just by using parallel lines on paper. And then we can use our blending stump to blend it in to get a nice, smooth control Onda. No smooth, great of shade from one area to the next. Still, as them fine detail into the all boys, I go just looking over madre wind and comparing. It's the reference image to see where the darker areas are on to see where I can start adding in the groundwork for our first few layers of pencil line, we need to talking up the eyes above the top, where the eyelashes go, so I'm just sketching in her makeup at the moment. Now, as you can see, I'm not using straight lines there, slowly curved. This is because I lashes and hair very rarely straight. So this gives the impression that the eyelashes a curved when we draw them on later. Now imagine that little bit of shade to the eyebrow or just below the eyebrow. The way the light catches this parcel of face is always interesting. There's always a highlight in shadows around this area and really make the I pop. So it's important to get the shading correct on these parts and also comparing it to the other I that has to be roughly the same depth of darkness and light, otherwise to face will look off balance. Of course, some pictures purposely have different lighting to make this effect different, so we have to be mindful of that. But in general, if there's even light in the portrait, both eyes the same shade of darkness numbers dies in a second layer of pencil rounds the outside of the iris. Now I'm using a blending stump to blend it into the center of the eyeball. Not all my lines here are going from the outside of the eyeball into the center. I'm just slowly building each layer up planes in it in and adding more pencil onto the drawing. This area really needs to be black. That's I'm drawing in a moment. But by adding more more layers, that shade will get darker and darker. Until I reached the right shade that I want. I'm using a self pencil five B, and it's extremely sharp, so I can really get those black lines in there now about drawing on top of the lights, airlines that we already have in place. It looks like it blends into the background where it fades where the gray lines behind the slowly, wider now, as we blend this, in this case even more definitely eyeball. Not only do we have my darkest shades blended, but behind it we have to lie to shades that's also blended around the outside of the black line. Possibly blended a little bit too much here, and we're starting to lose the highlights of the I. But that could be easily fixed by using a sharp white pencil. Or a piece of chalk has been sharpens for using the white pencil. When we go over the highlighted areas and draw them in, if we look at the other eye for the minute, we can see that the eyelashes reflect in the eyeball. This is the sort of thing that we wish to do on the highlighted areas of the eyeball. We just do this by using up lends in stump. All right, The center of the eye seems to be taken shape now so we can start into more debt from shade to the outside of the eye where the eyelashes were set. So using a five B pencil that's been shopping to a point, I can push down nice and heart and get a nice dark line. Now again, I'm keeping my lines going from the eyeball outwards. This is so as we blend it, the eyelashes look like they're going in the same direction. Most of us will be blended in. But if there's three, old line that stands out there will still look like it's going in. The same direction is the eyelashes and just add depth to the I Rather Lynn looking like it's been blended in the wrong direction. Unless you can see once it's blended, it doesn't make that much difference, Alice Stage. But it's good practice to get into every line you add will be added to the eyelashes at the end of the picture. It blends in the bottom of the islands. Now I notice I blended in some grey shades on the actual eyeball itself to give it a ball like effect. I'm just gonna work my way around this area, building up the shadows and shaded areas down on the cheekbone. We have a line of shade, so he needs to stop blends in that in on getting that darker. This way I get a better feel for how much shading shadow I need to use on the I because as I start to build up the rest of the face features it gives me an overall picture of the amount of shade I need to use in any particular one area. Someone's gonna go around the area, has some slightly darker pencil on, blend it in again, working more on the bottom of the islet, my lines still going in the same direction. And when I blends, I'm still blending from top to bottom, following the console off the lines I've put in around the eye. This just helps build up a bigger picture. I wanna know smooth blend on that. So I'm using a nice soft Clinton stump. No, it's great. I don't like seeing the differences between when great changes to black, So I like that no smooth fade on transition. On my shading, this whole area of the eye is still looking away. Two lights for my looking. So I want to and some or darker pencil and start to darken it out, make the shading darker, and maybe make the light parts lighter. So we have a greater contrast between areas. So again on the Petronella layer off eye shadow on keep really building up this area. And so it's just dark as the I for each time it's the same technique. I'm just going over the same lines again of a dark pencil on blends knitting. Obviously, I was speeded his past the video up because you don't want to watch me make drawn the same thing over and over. For 55 minutes, self managed condenses into a 12 minute video, so we're using the same techniques I taught while we were drawing the other. I just built up areas, looking at a reference picture and seeing where more shade needs to be added and then trying to balance the shade with the same as the rest of the face. And since the other eye is our first feature that we finished, we can use that as a reference to get the shade. Right. Now, as I blend up from our dark areas, I can use my blend until to expand on that without having had more pencil or charcoal to the paper. So here I'm just use my blending tool to take the dark pencil that's already on the paper on blend it outwards to give us the shape of the eyelashes by using this technique, but also gives us a nice blend. So we haven't got a worry about harsh blending lines that makes a great in Smith Now to use two different kinds of blenders. When I'm using paper, I would use my little finger or a fine blending stump. I am digitally. I have to blend in sticks that represent the same sort of fill that are used in coral painter here, both of them that standard. I haven't changed my brushes or two. One is called the Fine Planting Stump. Aniela is called Just add water. That brings us to the end of this lesson. Watch the next lesson when we finish off, how strong this I 4. Left eye part 2: Now we get to the second parts off the lesson for the left eye here, we're gonna start out in some eyelashes, se starting from around the eye. We're gonna have dark black lines coming up, give us the effect of eyelashes, but noticed that these lines are not straight eyelashes and never straits. They always come from the eyelid and curve upwards. Sabella's in mind as you draw them in. Now I start off by adding just a few eyelashes. What I'm looking for is to get the rights with and depth of the eyelash. So it match our reference picture by adding in a few eyelashes as the right level we can end. Add the rest in knowing where our maximum length is on the shortest left of where we have to draw them in. So as it in the prominent ones that really show up on the reference picture and then the rest, we add really regarding the reference picture too much just to fill out the area. Now, as we add them as two different ways, we can do this. We can add one layer and then use our blending stump and go along the eyelashes in the same direction that we drew them, then adds another eyelash on top using a darker pencil. This gives us a more Freedy effect on a filler effect of the eyelashes. Sometimes it might not be needed. You may just need to draw them on once without a blending procedure in the middle. It depends on the thickness of the eyelashes and how dark they are on our reference picture On this particular I, I'll be using a combination of both techniques. So for the bottom eyelashes, I will go over twice and I will blend the first time so you can see what I mean. It's also important to make sure that shading is right around the eye, why we do the eyelashes, So you have to be mindful that everything's in place before we add to this stage to our I. Now, from the I up slightly of blended so we can start to see a fade in from the corner of the eye, up into the eyelash. I'm just going round added in more dark pencil. Now it's already dark in that area up trying to bring it as dark as yellow. Some of the eyelashes off drawn is triangles, so you can see where the mascara comes, the hair together on the eyelash. Now I'm drawn in the bottom eyelashes. I'm gonna blend in these in and then redrawn on top. This gives us a thicker look of the eyelash without actually having to draw in too many. But there's always a lot fewer eyelashes on the bottom. I So, as I've drawn in a few curved lines two reps any eyelashes on the lower islet I can help Lindholm in, so we have a smooth layer, so add more on top of later so we can give a feel of death a 10 shoes appointed that stick when I'm blending with this so I can just blend the very small line of the eyelash and not the rest of the shading underneath it. Now, as we zoom ins get a better look, we can see more what's going on. You can see my sketch lying around the outside of where I wish the top of my eyelashes to meet, so I'm just going over him again and darken it up after we blended the area. I didn't see on the bottom here where I've already blended in the eyelash as you put more eyelashes on top because a thicker Phil without actually brawl in each eyelash. This is important on the lower island because there's always less eyelashes that, but we still need to show the thickness off the mascara on the eyelash. I understand and dark. Never think up with the doctor pencil music again, a soft five B pencil that's sharpened to a point. Now start putting pencil on the paper to give me something to blend in to make the whole area look darker. The corner of the I need some shade in so the IBU looks like it's a spherical shape and not a flat surface. So I'm just sketching in roughly where only the needs that to be. Now I can blend in from the dark era of the eye into the whiteness of the I to give to shaded. Or we can add a very light pencil and blend it in. The main thing is, it's getting pencil on the paper wherever we using a blending stump or very light touch. In this case, I'm just using a blend in stump and porn in the dark pencil from the side of the eye into the center of the white of the eye to give us the shape than we need. If we don't at this does look very flat. I'm unrealistic, so shaded on the white of the eye, it is very important. Now the eye is starting to take shape. I want to add more darkness to the ID to bring up the same time as the other one. It's going to be looking to go around with a darker pencil on, blurring it in to give us a little bit more darker shade around the whole I selecting a nice sharp five B pencil again. I'm now going to go over the same eyelashes that have really done to emphasize them and to also make it darker. The shading inside the I still need to be blended out for that, so I will use a blending stump so we have a nice, smooth, radiant on the actual eyeball. The lower eyelid still needs to add more shade behind the eyelashes. It's now is a good tons work on that before we finish drooling the rest of them in. Now we can add your eyelashes using very soft pencil has got a bit blunt now, but that's fine because we just want to show where they will be. The actual eyelashes will be drawn on top. We use a fine point blending stump blend matting going in a direction that wish the eyelashes to go in. So as you can see, there is blended lines going down now represents merely eyelashes would be if the picture was slightly out of focus. So I'm just adding more tone to the dark patches, and building up layer of more more pencil in the eyeball needs to be a little bit too dark there, so we need to lighten it up a little bit. I'm just doing that by blurring from the white section into the dark section, just using my pointed stump to move charcoal or pencil around on the drawing. Do you tend to find that draw ball with the blending tool? Then I do with actual pencils when I'm doing portrayed designs. Now, I'm just gonna go around and start as the more eyelashes. Now we could start drawn men. We've shown where they are, the Heinz, the eyelashes. Now we've darkened up the area and showing where the makeup is now. I wish to draw in the eyelashes. That will be the final representation on the joint. To do that, I'm zoomed out a little bit because I want them to look right compared to the other I. So I need to see both eyes. I'm just going around talking up my lines. That's already there by adding an extra layer off black pencil on top with the blurred lines underneath, it gives the impression that the eyelashes are thicker, and then I don't have to draw each individual eyelash. It's just represented by shade issues in the blend in stump again just to move everything out and get a nice fine line on those eyelashes, but don't want him totally unfocused like I did on the other. I exercise slowly, forever way. So wait a camera would pick up the I. It would be a softer focus, then the right hand I Now, if that done almost as in a little bit detail to the inside corner of the eye in this area , can be a bit difficult to draw because it's a tear duct. So sometimes there is water there, which messes up with the reflections. So two represents that we have to really study our reference drawn and try. Enjoy the exact shades of gray that is on our drawing, the very bottom of the eyelid. It's not quite black on this I to show their eyelids where the light catches it next to the iris and that the eyeball it needs to be a lighter shade of gray. So I'm blending that in and going along from right to left with my blend, until to pull that's lighter line across the I. So now we started in the final details to the eye so we can finish off. This part of drawing students on small pencil to the really dark hair is in the corner of the eye and in younger blood. Net out a little bit so we can't see the pencil lines, but it still darkens the area. Musema blend until we can correct any mistakes or in the corner of the eye, and then start drawing in our eyelashes. I'm drawn in the eyelashes on top of the shadows behind, being careful to get into the right level. Did you see that carved from the I outwards that comes straight down now, with lower eyelashes in place, I think we can move on to another feature on maybe revisit this later when we touch up at the very end to see if there's any corrections that need to be made. 5. Eyebrows: with eyes in place, we can start looking at drawing in the eyebrows. Now we've already added the rough outline of where they are on our sketch layer. So the way we do this is withdrawn each hair individually, So we're covering the whole area of the eyebrow of straight lines, down from top to bottom. Let's give us the impression of hair yourself to watch which way their hair moves on a reference picture. It doesn't always go in the same direction, and sometimes heads may cross each other in different directions. Adding this same once or twice during a section of hair really helps it look, really, because has they always, naturally flow the way you expect them to? Don't ask me, shading around the eyebrow to give us a background just so that area is complete. This makes it easier to blend it into the rest of the features that makes you look more natural so it doesn't stand out like it does at the moment. I'm using a thicker pencil when I'm drawn in the eyelashes on something is not supported. He and I'm using that stopped to be pencil just to get a shading right around the eyebrow before we add more detail to the I. Now, as we blend that in, we can start revisiting the eyebrow and really look at getting this looking realistic for using a sharp, pointed blending stump on blend in each line individually for the hair on going across the eyebrow in the same direction that's all drew in the hair in the first place. This just gives us an out of focus source of impression off what the hair off the eyebrow would look like. Now we can go back over its with a thinner pencil over the top of the same lines. I shouldn't see the hair on the left hand side starts off going from right to left and quickly goes from bottom to top. And as we progress to the right of the eyebrow, the air starts to slant more to the right with our blended backgrounds to this, as we had their hair in, it looks more realistic on the blended hair behind shows more thickness there without actually drawn in each individual. Hair of the eyebrow, now still looking a little bit too, shop so very, very gently with our blending stump with a blend over the area, following the same control off the heads, but this time very fine blend because we still want the hairs to showing fruit. We just don't want them looking so prominent. So I'm just working my way along the eyebrow just softly. Blending in those lines. Make a look more natural. The eyebrow won't be a consistent shade that we like to areas in dark areas. We can get that effect by using a blend in stump. Unless we move on to the ala eyebrow, we're going to be doing the same similar thing. But their heads on this eyebrow seem to go in many different directions, so we could try and simulate that effect by copying the way we draw our hair onto a eyebrow in a little bit more random fashion. They almost have across cider hash effect on this part of the I sound good role that in first before drawing the rest of the hair so it lies underneath the hair off the eyebrow. So using my night dark, soft five B pencil matin in those lines to wrap somewhere, hair really sets. And when we use our fine, pointed, blending stump to blend us in. We have to be careful. We're going in a direction that the hair on top goes, not the head behind, because we still want to show their initial. Have the eyebrow down from the bottom to the top of the picture. McCausland. Nature. It's eyebrow where their heads keep crossing. We're gonna build up another layer on top of that of a sharp pencil. So again I start with their heads that low behind the top hair, and that's the hair. It's on top. Are you there? This time I'm using and even falling a pencil, I will still be adding yet another layer of pencil on top of this. Once it's blended is where the hair goes in different directions on this one. It's a little bit more complex today. This is how I approach it. You never have enough layers. You can always add to it on and improve on your drawing. If something doesn't look right, don't give up. Keep out in more detail, more layers, and eventually it will pop, and it will start to look how you wish it to Wonderful that's blended in. It's starting to look a little bit more I brown like on it, also starting to show that their heads when they go in different directions, it's now using the sharp five B pencil controlling our final layer off our brows unusable until to clean up from the top and bottom of the eyebrow to make sure the eyelids on the skin is still clear of any smudges. We just do that by blending in from their heads or the skin into the eyebrow to get rid of any darker areas that we may have happened as we were drawing them in. We can't deal Dwight line with a white pencil where it's hair will show up the old bit of sunlight and lights bouncing off their heads so that one or two heads with the boys pencil really adds to the effect that makes it look a lot more real.