Drawing a Realistic Eye with Ballpoint Pen

1. Introduction: Did you know that it's possible to create realistic drawings using nothing but a point pen? If you love drawing or intercity realism and want to explore the possibilities of this amazing medium, this class is for you. Hi, my name is Natus Macedo, and I make redisic trowings using graphite, charcoal, colo pencils and Bwpoint ten. Yes, I love this material, not only because it's affordable and practical, but also because of the amazing results it can deliver. After releasing a class designed for Absolute Beginners called How to Shade with Bowpoint ten for Beginners, I decided to create a series of classes focus on more specific things, and this is one of them. In this class, we're going to put our skills into practice to draw a realistic eye using only a pen. I chose a reference with an interesting play of light and shadow and a bit of texture that I'm sure you're going to love. I'll guide you step by step from start to finish, showing you how to achieve an excellent result with this subject. Don't worry if you consider yourself a beginner. This drawing is easier than it looks. Before we dive into the class project, I'll show you some tips on how to choose a good pen, the ideal paper, and introduce you a few optional tools you can use. All of them are simple and easy to find. I'll also show you a few quick exercises to help you practice and feel more confident handling the Ballpoint pen. Then we'll draw a realistic eye together, going through every stage patiently from the sketch to the final touches. Along the way, I'll give you some tips on light, shadow, texture, and eye anatomy so that you'll be able to draw confidently on your own without the painting on tutorials for every new piece you make. So what you're waiting for to unlock the potential of that painting for good in the back of a drawer, I'm waiting for it in this class. So let's draw. 2. Class overview: First of all, welcome to this class on how to draw a realistic eye with ballpoint pen. In this video, I want to give you a quick overview of what we're going to cover throughout the class. To begin with, I'll show you the materials I use. Wait, pen on paper, right? Well, almost, I'll give you some tips on how to choose a good pen, which type of paper works best, and also show you a few extra materials that might come in handy. Then I'll share a few quick exercises for you to practice. Some of them actually anticipate elements will be drawing later in the class project. So it's a good idea to try them first separately without the pressure of working on a more complex drawing right away. After that, we'll move on to the main project. I'll show you how I make the pencil sketch and then walk you through the entire inking process step by step. At the end, I'll include a bonus lesson where I use a white ink pen, completely optional, but it will open up new creative possibilities for your BallpointPen drawings. Oh, and you don't need to use the same reference image I did. Feel free to draw any eye you want, okay? I hope you'll not only learn something useful but also have fun along the way. 3. Materials: Well, in this video, I want to talk to you about the materials used in this class. You won't need anything other than paper and pen, but I also suggest that you have a pencil and eraser and I'll also recommend one extra item. Let's start with the paper. As simple as a boil point pen drawing may be, I suggest you pick a paper of at least intermediate quality. Avoid using very thin paper, those used for printers, because they are not very resistant and wrinkle easily. A higher quality paper will elevate the quality of your drawing itself. In this class I'll be using this sone paper, you see on screen. I'm not showing this paper so that you try to find the exact same one because you might not find it where you live. What matters are its characteristics? In this case, it's a relatively smooth paper with a weight of 160 grams/square meter. That ensures the paper doesn't have a very pronounced texture and is reasonably sturdy. I also like this paper because of its color. Some papers are more yellowish, others bluish, and I think this one has an intermediate one that I like. This is an A four sized pad, and I'm going to cut the sheet in half because the drawing will be done in A five size, half of an A four. To make a sketch of the drawing, I'll be using a graphite pencil. I will use a B pencil, but an A or two B will also work. I don't like pencils that are too hard because they're harder to erase, and softer ones tend to smudge more and make a mess. So, for me, these intermediate grades are the ones I prefer the most. Regarding erasers, I recommend that you use a kneed eraser. It looks like a different kind of material, but it's actually inexpensive and very easy to use. The advantage of a needed eraser is that it can light in a line if you press it against the surface of the paper. And if you need to erase a line, it does it efficiently without making a mess or releasing crumbs. In my opinion, it's better for working with sketches than a regular plastic eraser because of these characteristics. Now, we finally get to the start of this class, the BallpointPen. Here on screen, I'm showing you two ballpoint pens just to show that there is a wide variety of them on the market. This one is a medium big pen, one of the most common in the world. It works perfectly for this class. I'll make a few thick and thin lines here just to demonstrate that it can serve you perfectly. This orange barreled one is a fine tip big pen. Unfortunately, the one I grabbed had dried ink, so I had to replace it with another one. It's this fine pen that I'll be using throughout the class. However, I insist you don't need to use the same material I do. It's very possible you won't find this exact pen where you live, but that doesn't matter. What matters is that you look for the materials available in your region and test them. Pick a pen that isn't leaking ink and that you find comfortable to handle and draw with. And of course, you can also use a pen of any color that's entirely up to your preference. And the completely optional material is the white ink pen. They are gel pens, but I don't really like them because they dry out very easily and become inusable very quickly. Here, I'll be using this Posca pen, which on the contrary, lasts quite a long time, even though it's more expensive. If you want to buy one, just pay attention to the fact that there are several different tip sizes. The one I'll be using this class is the one with a pin type tip, 07 millimeter think. This is an optional material that I use to give the file touch to our class project. I find this to very useful because it can also be used in colored or black and white drawings made with other materials, such as colored pencils, graphite or charcoal. And that's all I wanted to say about the materials. Now, I want to give you some quick tips before we start the class project. Let's get to it. 4. Some quick tips: In this lesson, I'd like to share a few quick tips on how to use a Bwpoint pen. The tips I'll give here were already covered in my class, how to shade with Ballpoint pen for beginners, but I wanted to repeat them for those who haven't washed that class yet. In fact, if you're a beginner, I highly recommend checking it out. The first tip is to always have a separate sheet of paper to test your pen strokes. The one you see on screen is the sheet I used while recording this class. A Ballpoint pen may have some dried ink built up on its tip from the last time you use it. That's why these first strokes are meant to clean the tip. Tap it gently on the paper surface to check for any leaking. If you notice excess ink, switch to another pen to avoid running your drawing. Now I'll grab a new sheet to make a few strokes here. You can hold the pen closer to the tip or farther away toward the middle. The farther you hold it, the lighter your strokes will be. Try different grip positions to find what feels most comfortable for you. Personally, I've already found a way to hold the pen that I find best for drawing. Here, I invite you to draw a series of parle lines varying the thickness of each stroke. Making thicker lines is easy. Try making them as thin as possible instead. That's how you develop control over tonal variation weight shading. Make strokes in different directions, top to bottom, bottom to top diagonal, as shown in the video. Of course, you can always rotate the paper to make strokes in a more comfortable direction. I'll do this throughout the class. Still, being able to draw lines in multiple directions with your hand gives you more versatility. Remember, throughout the drawing, we'll cross these strokes to achieve an even consistent shading. That's the very foundation of Bwpoint band shading. Notice how the ink can start to build up on the pen tip as you work. That's why having a spare sheet to clean it on is so important. The lines I made here were quick and fluid, all parallel to one another. Avoid making zigzag strokes like the ones I'm showing. This is not how we shade with a pen. To explore other possibilities, try making curved lines as well. Here, I drew slightly longer ones, which isn't very common, but it's a good exercise. Try varying the line thickness as you go. It's a nice challenge. I also made a few shorter curved lines. They resemble eyelashes, which will be drawing later in this class. I even sketched a few here for you to practice. Now I'm doing some scribbling, small circular motions with the pen. This technique helps create textures and you'll see me use it throughout this class. It Here I'm practicing a texture that appears in the realistic eye drawing, the wrinkles on the lower left corner. These small texture exercises are quite simple when done individually. Just a bit of practice will give you the tools needed to draw a realistic eye. Perhaps the biggest challenge is learning to control the pressure of your hand, balancing firmness and fluidity in each stroke. As I mentioned, these quick exercises already anticipated some of the elements we'll see in the realistic eye drawing, like the eyelashes, skin texture, and wrinkles. I hope these tips are helpful, and that you can put them into practice in the class project. So let's get started. 5. Sketching: H. All right. Let's begin the project for this class, the realistic eye. I'll start with a graphite pencil and the first thing I'm going to do is mark the space, the drawing we occupy on the paper. At this stage, the sketch, we don't worry about details. As you can see, I'm only making very light strokes just to place the drawing inside this A five size sheet. To achieve light strokes, I hold the pencil at a slight angle using more of the side of the graphite. And, of course, without applying too much pressure on the paper. When making this sketch, don't worry about being 100% precise or trying to create a perfect copy of your reference image. That would matter much more in a potet drawing. Since we're drawing just an I, this is more of an exercise. Still, make an effort to keep the proportions of the reference I because practice is always valuable. These sketch should be more schematic, so you can work with straighter lines if you prefer. Here I've added a few small marks in the lower portion of the eye. You might think I'm contradicting myself by adding details, but I'm always suggesting those wrinkles, just placing some light contrasts. Later, when the time comes, I'll give this area the proper attention. C. Even at this stage, I avoid using continuous lines to sketch the eyebrow. The pencil marks won't show up in the finished drawing, but I still don't want to place a solid outline here because that wouldn't reflect reality. There's no actual coorline around an eyebrow, not even if it's sharply defined. Instead, make strokes that suggest the direction of the eyebrow hairs. These will be especially important once we start working with the pen. So let's practice that now. Now, with the help of a kneaded eraser, I'm going to lighten the sketch lines. The kneaded eraser is excellent for this purpose because it doesn't leave a residue on the paper. It also has the ability to lift the graphite from the purpose surface. That's exactly what I'm doing. I'm not rubbing the eraser on the paper, but simply lifting the graphite. From here, I'll begin using the ballpoint pen. However, I still consider this part to be within the sketching stage since I've only been making light marks with the pen. I'm doing this because the graphic strokes are now very faint and I don't want to lose the reference of my sketch. Always keep a separate sheet of paper nearby to test your pen before drawing. Use that sheet to get the ink flowing because sometimes the pain may leak or require extra pressure, which could damage your drawing paper. Something we definitely want to avoid. Make sure to test the pin again whenever you return from a break, even if it was just a short one. At this point, it's essential to make very light strokes, a skill we covered in the tips video. Now is the time to put that into practice. Be careful when sketching the eyelashes. It's very important here to make fine strokes, especially at the tips of the hairs. Since we are now working with Ben, these lines will show in the finished drawing. So take your time and make them carefully. In this upper area of the eye, you might find it difficult to see the eyelashes because it's quite dark. If you're viewing your reference on a screen, try increasing the brightness and zooming in to see more detail. If you still can't clearly make out the eyelashes, try to imagine their structure. The lashes are thicker at the base and taper to finer points. 6. Iris and pupil: Let's take a moment to observe the reference image. First, I want to draw your attention to the values of light and shadow. Focusing specifically on the pupill and the iris, I noticed that the darkest point in the entire drawing is the pupil. That's why when shading this part, make it as dark as you possibly can. The same applies to the upper region of the iris. On the other hand, notice how the iris is darker at the top and gradually becomes lighter toward the bottom. This happens because the eyelashes and the eyelid cast a shadow over the eye. We can also observe that the iris is darker near the center and becomes lighter as it approaches the edges. Another important detail is the border of the iris. Notice that there isn't a sharp line separating the iris from the white of the eye. The edges are actually soft and slightly blurred without clear definition. Keep this effect in mind if you want your drawing to look more realistic. I'll show you how to achieve this in just a moment. Let's begin with the pupil. I'll try to make this area as dark as I can. At the same time, I'll add a few strokes in the highlight just above the pupil. This highlight is actually the reflection of the eyelashes. It's a subtle effect, so treat it with a bit more care. Little by little, I start adding the Iris textures. At this point, I'm not drawing lines, but rather blotches. This effect is achieved by making very light circular movements with the pen. I'm first marking the darker spots that I can see within the iris. Later on, I'll darken them further. But for now, I want them to serve as reference points for the rest of the drawing. Work on these textures slowly without rushing, carefully observing the reference image, and trying to reproduce what you see as closely as possible. Remember, you don't need to make a perfect copy. What matters is capturing the overall effect in your drawing. Here I start crossing the strokes as well. Up until now, my strokes have mainly gone from the center outward. Now I'll add strokes that cross over the first ones this time using circular motions. Watch the video closely to better understand what I mean. Cross hatching like this is key to preventing the drawing from looking too linear or full of visible strokes. While filling in an awesome Proservia lighter area, right now it looks a bit exaggerated, but that's okay. It's important to keep it for the moment. Later, we can gradually darken it to reduce the intensity of that highlight. Here I'm adding the reflections of the eyelashes on top of that highlight above the pupill. So Now, I'm working on creating that soft diffused edge around the res. To do this, I make very light circular movements with the pen. Since these strokes are more delicate, I recommend practicing this motion on a separate sheet of paper before applying it to your drawing. 7. Upper eyelid: Now I'm going to focus on the upper eyelid. If you prefer, you could move directly from the iris to the white of the eye, which might even feel more natural. But for some reason, I've decided to concentrate on the upper eyelid first. Once again, I begin by establishing the darker values. Even though we can see a slightly more defined line here, I still treat this area as a patch of tone rather than a hard line. This helps give the drawing a more realistic, natural look. Remember, there are no actual lines in nature. A line is a human abstraction. What we really see is always light and shadow. Now, I'll create a general base of shading in this area. Pay attention to the movement I make with the pen and the lightness of the strokes. This base needs to stay lighter because it covers the entire eyelid and we need to preserve the lighter areas. With a pen, we cannot undo or lighten a section once it gets too dark, so be careful here. Don't hesitate to rotate your sheet of paper so you can draw more comfortably. I often rotate the paper to adapt the drawing to the natural movement of my hand. Little by little, I add some fine wrinkles and a bit of texture that I observe on the eyelid. These are sorrow marks, but slightly stronger than what we've done so far. Notice also that the eyelid is darker in the upper area and gradually lightens as it goes downward before becoming quite dark again in the area of the eyelashes. Here, a bit further to the right, I work more on the texture using circular movements. These are light strokes layered one over another until I reach the tone I want. 8. Tear duct, white of the eye: Now, let's move back to the inner corner of the eye. Here we are in the tear duct area. It's a relatively dark area but with several small scattered highlights. So as you shade this area, try to preserve the white of those tiny points of light if possible. Also notice in the reference image how the transition from the tear duct to the white of the eye isn't marked by a sharp line. The contrast is created instead by the difference in light and shadow values with the tier duct being a little darker. In the area of the white of the eye, also known as sclera, I'll carefully draw a few veins that appear here. These are extremely subtle marks, so your hand needs to be very light when tracing them. Once again, I recommend practicing on a separate sheet of paper first. It's also essential to make sure your pen ink is flowing smoothly. So test it out on that extra sheet before starting here. When shading the white of the eye, I also create a kind of gradient. There's a sliding darker shadow toward the corners, which gradually lightens as it approaches the center. Yes, the white of the eye is not actually pure white. Notice that the highlight above the pupill is even lighter than this area. This claria is light, but not as light as the bright reflection. That said, the work here must be very subtle since we're dealing with one of the lightest areas of the entire drawing. So we do add shading, but it must remain soft, created with a very light touch without applying much pressure on the pen. Here I'm crossing the strokes to achieve a smoother, more even shading without visible lines. Gradually, I also adjust the values of the shadows I've already established, darkening them little by little. Here I'm reinforcing the separation between the white of the eye and the upper eyelid. Again, I'm not making a sharp outline, as you can see. Instead, it's more of an intense shadow, but without a clearly defined contour. Now on the right hand side, the process is exactly the same. I won't be repetitive here. Just observe this step. Once we finish the white of the eye, we'll move on to the eyelashes. 9. Eyelashes: For the eyelashes, the first thing I do is reinforce the strokes I made earlier in the sketch. We can't always see the eyelashes clearly, but some areas are quite dark, like the one just above the iris. In this case, I improvise a little trying to imagine roughly how they look. Later, we can darken this area even more. Remember that eyelashes are thicker at the base and taper toward the tip. As I darken these strokes, I also take the opportunity to slightly thicken the lashes, since the sketch lines I drew earlier were thinner. Now we move on to the lower eyelashes. The process is the same, but notice that they are thinner than the upper lashes. This means they require a bit more care when drawing them. Keep the reference image at hand and try to imitate the natural curve of the eyelashes. Notice how they don't always follow the same direction, sometimes crossing over each other and moving in opposite ways. Paying attention to these details is what will bring more realism to your drawing. Since this is delicate work, I once again recommend practicing a little on a separate sheet of paper. Here, I'll add some lighter fine strokes to make the lashes look a little messier. I hope this gives them a more natural look. 10. Lower eyelid: Now we arrive at the lower eyelid. Let's observe the reference image once again. In this case, the lighter area is above and it gets darker in the lower region. Pay close attention to this. It's very important to give in volume to your drawing. Another important point are these wrinkles that I can see more on the left. In this lesson, I'll show you how we can draw them as well. I start by doing a very light shading, already taking the texture into consideration. There are some small, irregular spots behind the eyelashes. And I'll draw them with very soft hand movements. This here is the water line, which, in my opinion, is the most delicate part of the whole drawing. It's relatively difficult to work here because it doesn't have any sharp lines, and besides that, it's a very narrow area. So give special attention to this step. Once again, I recommend that you carefully observe the reference to try to reproduce the effect we see here. At this point, I also take the chance to go back to the lacrmal area and darken it a little more. It's natural to feel the need to make adjustments throughout the process. Let's now work on the volume of the lower eyelid and feel free to rotate your drawing to make your hand movement more comfortable. Little by little, I reinforce the wrinkles as well, and you'll notice how this is part of the shading process. Texture and shading are done simultaneously. They are not independent from each other. Here I'm also working on both shading and texture. Gradually, I add slightly stronger spots. Here I make strokes in another direction, crossing them with the previous ones. And little by little, the shadow becomes more intense. Now, I move a bit further down to the lower area below the eyelid. There are some very light wrinkles here that I'll draw through pen movement. Here I'm adjusting the wrinkles, intensifying some of them. Try making wrinkles with different intensities to achieve a more realistic effect. From this point on, I'll continue working the lower area as well, starting with very light shading. Now I'm adding a second layer this time working a bit more on the texture through irregular strokes, creating little spots in different shapes. We will return to this area later. For now, let's move to the upper portion of the drawing. 11. Crease, brow bone: Now, let's draw this region between the eyebrow and the upper eyelid, which we call the brow bone. Here, I want to draw your attention to the light and shadow values. Notice how this area is darker on the left and lighting is a bit on the right, although there is also a darker shadow here. In any case, the darker side is not as dark as the black of the pupill, the eyebrow or the crease above the upper eyelid. It's more of a dark gray, and that's what we'll try to achieve in our drawing. There's a slightly more intense shadow near the crease and I'll start with that. I'll also begin working on this darker shadow on the right, and I want to pay special attention to the movement of the pen strokes. It's important here to cross the strokes to create a smoother effect avoiding visible lines. Here, we work on the shading, and the process is very similar to what we did on the upper eyelid. In fact, it's even simpler here since we don't have such a defined texture. The shading is more uniform, so I'll definitely be crossing the strokes later on. The shadow is also a bit more intense near the eyebrow, which is why I lay down the first layers in this area. Now, moving from dark to light, let's fill in this area as well. First, I go in one direction, then rotate the paper to cross the strokes. Little by little, I increase the intensity of the shading to reach darker tones. Pay attention to the highlights in this area, too. I started building the texture by leaving some empty spaces while shading. I also changed the stroke direction to create a few small spots here. I'm also working on the transition from the eyebrow to the skin. In this case, I draw the eyebrow hairs that sit along its edge, so to speak. Remember, I don't outline the eyebrow. Instead, I draw the hairs, which are darker than the skin tone. When drawing hairs, don't make them randomly. Observe the reference image to see the specific direction they follow. Here, I continue working on the texture, keeping a very light hand since this is a more illuminated area. And so layer by layer, the shading and texture are gradually built up. This step by step shading allows better control over the intensity of tones. Here I'm rotating the paper to cross the strokes and find a more comfortable movement for my hand. And here we wrap up this section with the starker patch on the right, made using circular movements. 12. Eyebrow: Now let's move on to the eyebrow. First, I'd like to work on its transition to the surrounding skin. I do this by drawing the hairs that stand out most in the reference, and my focus is on getting their direction right. When drawing hairs, we must always pay attention to two things, the direction and the thickness of the strokes. Since these are dark hairs, the strokes are made with firmness. You don't need to press the pen hard against the paper, but you do need to apply some pressure. Make sure to start and finish the strokes thinner and make them thicker in the middle. Once again, I suggest you practice these strokes on a separate sheet of paper first. Here I was careful to make lighter strokes. Notice in the reference image how delicate they are in the transition to the skin. Now, let's fill in the eyebrow. At first, I'm creating a base layer, shading lightly, but soon I'll start drawing the hairs one by one. In my view, this is the best way to draw an eyebrow by making a series of firm strokes that simulate its texture. Pay close attention to direction of the strokes. I'm simply following the reference image, trying to reproduce the effect I see there. On the far left side, this is a darker area, so it's hard to clearly see what's going on, but that doesn't mean we should just fill it aggressively and darken everything. Instead, we try to suggest some texture. Here in the middle, I notice that the direction of the hair changes become more horizontal, which makes them different from the previous ones. There are some lighter hairs in the middle, so I'm leaving a few areas empty. It's the same principle we apply to the iris, to the upper and lower eyelids and to the brow bone. This is how I create highlights in ballpoint pen drawings. On the right side, the direction of the strokes changes once again. Okay. On the left side, I'm adding more layers to darken the drawing. I also rotate the paper once again to have a more comfortable hand movement and to better work on the transition between the right side of the eyebrow and the skin. And that's it, we've completed another step. Now we're entering the final stretch of this drawing. 13. Final touches: As we approach the end, we can better observe the relations between the parts of the drawing. It's important to control your anxiety at the stage and carefully examine what you've done so far to detect any inconsistencies or areas that need adjustment. The main thing I notice in my drawing is that some shadows need to be intensified both in the upper and lower areas of the drawing. I make this adjustment with circular movements of the pen, shading and working on the texture at the same time. Here, I felt the need to enhance the shadows. In doing so, I aimed to give the drawing more three dimensionality, increasing the contrast between its parts. Once again, I paid special attention to the direction of the strokes. I could consider the drawing finished at this point, but I decided to expand the lower half a little. I started with very light strokes since this envy is more illuminated. Notice the direction of the shading and the lightness of the strokes at first. Later, I will gradually increase the pressure on the pen to reach the desired tones, which in this case, are neither very dark nor very light, but intermediate shades. Here, the strokes are less expensive because I'm focused more on texture. The movements are shorter and circular. Down. Continuing, I make strokes around the eye, which will cross with the ones I did on the right. Here I take the opportunity to make a few more adjustments, intensifying another wrinkle. And as I mentioned, gradually increasing the intensity of the texture until reaching the desired tones. On the right side, I noticed a few darker spots. D. The lower portion is a bit lighter, but still has some texture. Here, it's important to control the pressure on your strokes, making these small spots very lightly. And now the drawing is officially finished. I hope you enjoyed drawing along with me, had fun, learned something useful in these lessons, and that you can apply these techniques to your future drawings. Before you leave, though, I'd like to give you an extra piece of advice for doing highlights. Let's get right into it. 14. Extra tip highlights: All right, everyone. This is an extra video where I'll show you how to create highlights using an acrylic paint pen. To be more precise, I'm using a Posca pen. More than in any other case presented in this class, I strongly recommend that you do tests on a separate sheet of paper. After all, we're applying white ink on top of your drawing, which is a relatively aggressive intervention. Here on the screen, you can see a sheet I used throughout the class to test my Ballpoint pen every time I starting a new drawing session, just to get the ink flowing. With the Posca pen, you need to do the same. Depending on how long it's been stored, the tip may be dry and you need to restart the ink flow. If that's the case, press the pen against the paper surface. Obviously, never do this directly on your drawing. Here I made a quicker version of the eye we worked on in the class just to run some tests. In the finished drawing, I intend to add only a few subtle light dots here and there, and that's exactly what I'm doing in the smaller sketch. So let's get started. I'll begin by adding some light dots in the tear duct. This is where the white ink will be most visible since it's a darker area. I also want to add a few dots behind the lower lashes, as I see in the reference. Here, the effect will be more subtle because it's a lighter area, so the white dots won't stand out as much. So I also add a few light spots on the skin in the lower left corner. As I mentioned, using the Posca pen is a relatively aggressive intervention, so I'll only make a few gentle touches with it. Notice that I'm creating a kind of pointless effect here, following the texture I see in the reference image. The effect is very subtle. I don't want anything too eye catching, since the white ink can easily draw too much attention, and that's not the effect I'm aiming for. I'll also add some highlights on the upper eyelid. Here, the contrast is stronger because the base is darker, so the highlights will stand out more. For that reason, be even more careful when using the posca pen in this area. So what do you think? Do you feel that these highlights made the drawing more realistic? Or do you think they create a more artificial effect? This is a personal choice. It's up to you to decide whether you want to use this technique in your drawings. I hope this extra lesson was helpful. Oh 15. Conclusion: And that's where we wrap up our class on how to draw a realistic eye with BallpointFn. I hope you've learned something useful and had a great time drawing along with me. Since you've made it this far, don't forget to share your drawing in the project section. I'd love to see your work there and give you some feedback on it. Also, take a moment to leave a review for this class. It really means a lot to me. Your feedback helps me keep improving and reach more students who just like you want to take their drawings to the next level. Thank you so much for watching this class for sharing your project, and for leaving your review. It's been a pleasure having you here, and I hope to see you again in future classes. See you next time.