Transcripts
1. Introduction: Something about drawing
eyes with graphite pencils, which is so fun and satisfying. But also something I see a lot
of people struggling with. I want to show you
today that actually, it's not as difficult
as you think, particularly if you
avoid a few pitfalls. My name's Gemma Chambers, and I've been making online
art tutorials since 2020. I've helped tens of thousands of people improve their art
on my YouTube channel. But today, I want to cover a subject that's quite specific. I want to show you how to draw eyes with graphite pencils. Now, I will show you all of the materials
that you'll need, as well as the main areas that I often see people
struggling with. We can then go through
the full process of drawing this eye.
Let's get started.
2. Class Project - Drawing an Eye: The class project, we
will be drawing this eye. Now I've picked this eye
for a couple of reasons. Firstly, I really like the
smoky look of the makeup. I think it adds a real
lovely pop to the drawing. But I also like the little
details on the iris. Now I will show you everything that you need to create this, including how to
make this sketch. If you don't want to create your own sketch,
you can use mine. I've included that in
the class resources. Once you've finish your drawing, please do upload it into
the class projects. I would love to see
what you've done. Let's talk about
the materials that you'll need to
complete this eye.
3. Materials You'll Need to Draw with Graphite: Let's talk about
the materials that you'll need to draw this eye. And the most obvious
thing you'll need is graphite pencils. Specifically, you'll need three different
types of graphite, a hard pencil, a medium, and a soft pencil. So soft pencils look much darker when you
put them on the paper. Hard pencils look much lighter. We're going to build
these pencils up to build all of the
richness of the eye. Now, for this drawing, I'm working with something
called Matt graphite pencils. These are very similar
to graphite pencils, but they don't have that
shine to them or not as much. Up to you if you draw with Mac graphite or
standard graphite. I've included details of
the pencils I'm using or that you could use
for standard graphite in the description. The next thing you'll
need is paper. And because we're going to be
building these pencils up, you want to be picking
the right kind of paper. We don't want to be working
on something really thin like sketch paper
or printer paper because we're not
going to be able to build up the pencil
in the same way. Like working on something
called bristol board. This is a really thick paper. It's almost thick like a card. Next up, you'll need
a pencil sharpness, some way of creating a
really sharp pencil. And after that, you'll
need just some tissue. We're going to use this
to blend the pencil. From here, if you're
creating your own sketch, you will also need a ruler, and I'll show you how we're
going to use that in a while. Next up, you will
need some erasers. Now, I use two different
types of eraser. I use a putty eraser
and an electric eraser. The putty eraser is
a moldable eraser. I can mold it into all
sorts of different shapes, and it's great for just lifting a small amount of the graphite. The electric eraser is amazing
for adding finer details. Finally, you'll need some way of looking at a reference photo. So because we're focusing on drawing this eye realistically, the best way to create a realistic drawing is to
work from a reference. I'm working off of an iPad. I particularly like
that I can zoom in. But you don't have to be
working from a screen. You can always print
out the reference. So next up, let's talk
about the key pitfalls that I often see people struggling
with when drawing eyes.
4. Common Mistakes when Drawing Eyes: Let's talk about the
main areas that I always see people struggling with when trying to draw realistic eyes. And actually, the first
thing is the proportions. There are certain assumptions
that I think we all make about eyes that
actually aren't true. They're not as sort of
oval as you might expect. And also the iris isn't slap bang in the
middle of the eye. All of these issues with
proportions can be fixed by creating a sketch
that is super accurate. Now, I always use
something called the grid method to
create my sketches. I'll show you in the
next section how to use but I think the most important thing is that we
don't want to be making a load of assumptions about what the eye
needs to look like, where all of the outlines
of the eye are going to go. I want to focus on
what's actually there, what can actually be seen. Next up, another area that I frequently see people
struggling with is getting the right contrast
down on the drawing. Contrast is the most
important thing to be focusing on when drawing
anything with graphite. And actually, when you think
about some areas of the eye, like the white of the eye, we assume the white of the
eye is going to be white. But in actuality, look at how dark the white of
the eye actually is. This all comes back
to drawing what's actually there and not what
you assume to be there. And on that same vein,
looking at eyelashes, again, you assume that eyelashes are either pointing
straight up or generally curving
in one direction, but look at all of the
different ways that these eyelashes
are curling round. It's again going to be much more realistic if we draw
from a reference photo, we can see the directions that these eyelashes are
actually going in. And I think that's what
really it all comes down to. Now, the final thing to think about if you
are working from a reference when
drawing an eye is picking the right
reference photo. As I say, graphite drawings
all come down to contrast, getting that contrast right. And in a reference photo, we want to have a really
good amount of lights, midtones, and darks
if we're going to want this end drawing
to have WOW factor. Actually, that's where
the smoky eye in this reference photo
is coming in really handy because it's really
giving us that extra contrast. So next up, thinking about making sure that we've got
the proportions right. Let's create our sketch. I'll show you how to do
this really accurately.
5. Creating the Sketch Outlines: Let's create our sketch outlines for this e. And to do this, I like using something
called the grid method. This is where you draw a grid on your drawing paper and add a grid to your
reference photo, and we're just going to focus on drawing what's in each
individual square. I literally look at the lines that are in
each of the squares, look at where the lines pass the edges of the
squares and match them all. It's an extremely complicated
drawing that I'm creating, I'll add smaller squares. If it's quite simple, I
can make bigger squares. But it stops me
from drawing an I, and I'm just drawing
a series of shapes. It completely takes
any assumptions that I might have
out of the equation. Once I've added in everything
in each individual square, I can then use an eraser to
erase all of the grid lines. Now, it's worth bearing in
mind that you want to be pressing extremely
lightly when doing this. Not only will it make erasing the grid lines a lot easier, but we want to have really
nice and light lines to build the drawing on top of. If they're really thick lines, it's not going to look good
at the end of the drawing. My lines here are thick, literally, so you can
see it on the camera. Now, there's one
more thing that I want to do before
we start drawing.
6. Studying the Reference Photo: Whenever I'm drawing a picture, before I start drawing, I like to take a minute to have a really good look at
the reference photo. I find it's a really good
process to get your bearings, work out what needs to
go where, generally, anything that needs to be beard
in mind with the drawing. So let's do that on
this eye picture, and hopefully you'll see
a bit better what I. First up, I've
picked specifically this eye because it has
really, really good contrast. It's got an amazing range of very light patches like
this circle light here. There's some light patches
around here and around here, we've got a good
amount of mid tones, and then there's some
really nice dark areas like along the lash line
along the fold here and on the p. So
that's why I think specifically this reference
photo is going to work well. When we're building up
all of the shading, we're going to want to look at what is actually
here on each area. So, for example, note
that around the edge of the iris is much kind of
blurrier than you might expect. It's not a really sharp line. It is a darker line
around the edge, but it kind of
blends quite nicely into both the white of the
eye and the iris here. The same with the
pupil, it doesn't have a really crisp edge to it. It blends very well
into the iris. It's all quite nice and soft. It's generally darker at the top and lighter
around the bottom. Notice how dark the
white of the eye is. I'm noticing this
particularly dark shadow in this corner and in
the corner around here. And then even in the
lighter areas like here, it's still very much a mid gray. So I'm going to want to
add a reasonable amount of shading on the white of
the eye to build that up. And then looking at the eyelid, it's got a patch of light where the light
is shining here, and it's generally
darker on each side. Also noticing that it's not perfectly smooth along here
because it's an eyelid. It's got some kind of, I'm going to call it skin
folds going along here, so a series of kind of lines. And adding that in is going to create a slightly
more textured look. The same up here, but it's a little bit less
obvious texture, particularly around this area. Ing underneath the eye, again, it's really quite
dark under here, much darker than
you might expect. There is a light patch
towards the middle, and you can also
see the water line here is quite a dark color, particularly
underneath the iris. It's a little bit lighter. It kind of perfectly matches the white of the eye
here, but it's not light. The lightest areas, as I say, here and up here. There's also these lines here, some reasonably dark
lines, I would say, particularly in this area here that I'm going
to need to build up. Now, looking at the eyelashes, there's not a huge amount of eyelashes here because
she's wearing mascara. A lot of them are kind
of clumped together. But I'm noticing
that generally they are curving towards
the outer edge, so curving along and up here
and this way on this side, and the same on the bottom, curling down this way and
curling down this way, and then more straight
down in the middle. I'm just going to follow these lines as I'm
drawing the eyelashes. I won't add these in
until towards the end, just to try and replicate
what I've got here. So the last thing I
want to talk about is the eyebrow for now. And actually, the eyebrow, the hair is a bit kind of
frazier than I might expect. But I'm particularly thinking about the direction of the hair. It's generally going up towards
the center of the face. It's going up and it's traveling kind of up but
a bit to the side here. But by the time that it
gets round to this side, it's very much traveling
in this direction. And getting all of
these hairs pointing in the right direction is what's going to make
this look natural. If I just made them
all go this way, like you kind of would
imagine it would be, it's not going to
look very realistic. So those are the
main things that I'm noticing to begin with. Alright, let's start drawing.
7. Build up the Hardest Pencil: Goal in this first chapter is to just get something
down on the paper. I've got a very light sketch. I now want to fill in
some of the lights and darks and generally
get the shapes mapped in. The idea by the end
of this first chapter is that I'm going to have something that
looks like an eye, but maybe not with a huge
amount of detail or contrast. Starting here with
the hardest pencil or the lightest pencil that I'm going to use
in this drawing. This in the Matt graphite
pencils is a four B pencil. If you were using
normal graphite, I'd recommend using an HB. And I'm going to
work my way around here looking for those
lights and darks. I find it easiest to work
one section at a time. I'm starting off here by
focusing on the iris. And I'm just blocking
in the outside edge. As I mentioned when
we were looking at the reference photo, around the edge of the iris, it's got quite a thick
line that is generally thicker towards the bottom
and thinner towards the top. I'm literally going to mark that in following the lines on
my sketch to begin with, and then we can start filling in the pupil and the
iris in a second. So let's move on to the pupil, I particularly need
to make sure I'm working around
those light areas, the light little circle, and there's another light
patch just above it. In terms of how I'm actually putting the pencil
down on the paper, I'm working really
nice and lightly. I don't want to be pressing
hard with this pencil. I'm wanting to gradually
build up the shading. We're going to need to build two other pencils
over the top of this, one a little bit softer, and then the softest pencil, which is going to give us
that really good contrast. I'm doing detailed work
like I'm doing here. Note that I am holding the pencil reasonably
close to the tip, not right at the
tip, but I am still really focusing on
pressing lightly. I don't want to
be pressing hard. And you'll see in a second, if I'm filling in a larger area, if I'm just wanting to
block in some smooth color, I'll show you how I
do that in a second. Now note also that I'm trying to make this as smooth as possible. The pupil here is just
a solid block of color. So I am working in
secular motions like I normally would to block this
in as smoothly as I can. Finally, I'm just
going to work around the edge of this
other light patch. So you can see the
general kind of semicircle shape of
this light patch, and then you can
see the reflection of the eyelashes in here. So I want to just look at the shapes here and
mark in what I can see. Now, I have already mapped
this in on my sketch. So this is made much easier
than it would otherwise be. So I've mapped in those
eyelash reflections. I now want to add some general
shading onto the iris. So I'm starting off by building a reasonable
amount of shading, particularly towards the top. You'll generally notice
that it is a lot darker at the top of the iris and
lighter towards the bottom. Any detail we can see is
towards the bottom of the eye. So I'm still using
those circular motions to try and make this
nice and smooth. And then once I have blocked
in that top section, I now want to start
filling in some of the other shapes I
can see on the iris. Now, first up, note that this
doesn't have to be perfect, but I am trying to generally follow what I can see
in the reference photo. I'm noticing that this
isn't all one smooth area. It's got some darker lines coming down here,
here, along here. There's almost like a
darker triangular shape and along here and a along here. There's also some curved lines going in the other direction. You can see a faint
line coming around here and there's also a line just beneath it coming around here. You'll see that I'm starting off by mapping in those lines that are coming down from the
pupil towards the edge. Still working in circular motion and still working
nice and lightly. As I say, I'm very much using the reference photo as a guide here to get
these lines mapped in, but I'm not worrying about it being exactly the same
as the reference. And then once I filled
in the darker lines coming from the center out, I can then think about
adding in those curved lines going in the opposite
direction like I'm doing here, nice and lightly. And also, I can add
some general shading, make the whole thing just
a little bit darker. Now, it looks all a
little bit patchy, a little bit blocky
at this moment, but we are going to be blending
this in a short while, and that will smooth everything out. So don't worry about that. Do the same on the
other half of the iris. So again, adding the lines
going towards the center, still working lightly and
in those circular motions. And then adding some
nice and light shading to generally make the
whole iris darker. That's all I'm going to do on the iris at this point
with this pencil. So I'm now going to
focus on building up some shading on
the white of the eye. And as I said, this is much
darker than you might expect, but some areas are
darker than others. So there's a kind of
darker strip going here. It's much darker here, although lighter on this area. And it's much darker
in this corner. There's a lighter
strip going here, and then it's darker
here as well. So that is essentially what I'm seeing and what I'm
wanting to build up. Now note that here, because I'm wanting to
block in a larger area, I'm wanting to generally
add quite a lot of shading onto the
white of the eye. But I don't need to be as precise about where
the pencils going. You'll notice that I'm holding the pencil further
back at this point. I'm not holding it really
close to the tip now, and holding it further
back like this just makes the whole process
so much easier. It literally stops me from
being able to press too hard, and I find it much
gentler on my hand. Still working in
circular motions, and I'm really just
wanting to get a nice smooth covering of the pencil generally on
the white of the eye, and we will tweak
it a bit later. So it's blocking this
area towards the front, just looking at the shapes
that I can see here. You'll see there I'm really not trying to make
everything perfect. I'm just trying to
get something down that we can then build
upon in the next section. I'm very much relying on the
sketch that I've made to do this so that I can see
that everything's in proportion and I know
what's going to go where. Let's add some
shading to the white of the eye on the
other side as well. You'll see I'm still
pressing lightly and working in those
circular motions. And generally adding more
of the shading, as I said, towards the outer
corner of the eye and in this area quite
close to the iris here. But I could be much
lighter on this section. I don't want to add a huge
amount of shading here. So let's start working
out from the eye now. I want to be blocking
in the lash line. So you'll see, although
there's a lot of kind of hair detail along
this lash line, generally speaking, it is just dark behind
those hairs as well. I want to block in the
line all along here, and it's actually a reasonably
thick line, I would say. And then once that's blocked in, we'll be adding the hair
details much later on, but I just want to
get something that is kind of the background
colors mapped in. So I'm working all
along the top. Again, this is nicely already marked in
from my sketch lines, so that's made a lot easier. Also going to fill in
the line of the crease. You can see I've added that in. And then I want to
be focusing on the eyelid and generally
shading here. Now, I find it easiest
rather than in a shadowed area like this
area I'm filling in now. Rather than pressing hard with the pencil to build
up a darker color, you'll see that I'm just
going over it again and again and again to build
up that darker color. This is going to be
much more forgiving. It means that if
you make a mistake, it means that it'll
be easier to adjust. And we're going to
end up with a much nicer, softer color. You can see I've stopped where that light patch on
the eyelid begins, and then I'm going to
start shading from the right hand side
towards that area. There is some texture on the eyelid here that we'll
add in in a short while. But for now, I'm just wanting to get something blocked in, get some sort of shading
down on this area. And I'm looking at the shapes at the edge of that light patch. It's not a perfectly
smooth, crisp line. It's a little bit jaggedy. So I'll go over that working in circular motions here once again and shading up to that pre. As I'm generally happy
with those darker areas, I can then start
adding in a little bit of detail with the
lines on the eye here. So look at all of these
lines going over the eyelid. What I want to do is be looking at particularly the
direction of these lines, which is generally horizontal. I want to be just very
roughly marking these in. Now note that I am working quite quickly as I'm doing this. I am looking at the reference
photo to get an idea on where these lines
are going to go and to try and match
them up where possible, but I'm absolutely not
making it perfect. And it all looks a little
bit harsh right now. That's because in a short while
we will be blending this. And then these lines
won't look as harsh. So I can go over some of the
darker areas of the eyelid, as well, just quickly
marking in some lines. And then I'm going to
kind of fade it out as we get towards the
left around here. So it looks a little
bit peculiar, but I would say I'm generally
happy now with the eyelid. Let's define the breese
a little bit better. It needs to be a lot darker than what I've
got at the moment, and then I want to be
shading above that crease. See that there's a
pretty crisp line of this crease all along here, and generally, it's lighter below the crease,
but darker above. So we want to be shading
from that crease up. But I am noticing that there's
this light patch up here, so I'm wanting to fade out the shading in this sort
of line going around. You'll see that I'm
back to holding the pencil nice and far
back and working in these circular or
oval motions to just gradually build
up the shading here. Because it's skin, I
want it to be really, really nice and smooth, and I will be able to blend
this in a short while. But for now, I just want
to be doing everything I can to help this be as
smooth as possible. Going to marking
where the edge of that light shape is going to go, and then it makes it
a bit easier for me to shade up until that point. So I'm just gradually
building up the shading, building up all of these
dark areas until I'm happy with the general fold that I've got along
that right hand side. Then I'm going to
start building up the skin more on
this left hand side. But so, very, very lightly. I don't want to have
really dark skin here. I can see a lot of light
patches within the skin, and I want to be creating
now let's have a look, particularly around the top of the eyelid and
around the eyebrow. And particularly looking
for the underlying shading, the underlying lights and
darks within the skin. So notice that along the
edge of the eyeshadow, I assume, there is a darker
shadow all along here. It's also a little bit darker underneath those hairs in the eyebrow, a
little bit darker. Here and a little bit
darker towards the top, but it's a bit lighter
in the middle. And it's generally darker
all the way around here. So I'm not looking at the
hairs on the eyebrow. I'm looking at those
underlying colors, the underlying shading. So we're going to
need to add that in. I'm also wanting to look at the light patch on the
inner corner of the eye. It's kind of it curves round and then it's got
two kind of bumps. I want to be
avoiding this shape. It's almost like a
heart shape, I guess. So you can see I'm
avoiding that area, but it's really not very
dark around that shape. And just looking at where these lights and darks
in the skin are. Now, I can't stress enough that this doesn't
need to be perfect. I just want to be
getting something down so that when we move
on to the next pencil, it's a little bit easier to
see what's going to go where. Now, it's worth noting
that to help me, particularly with the skin here, to help me try and get it
down as smoothly as possible, beyond holding the pencil further back and
pressing lightly. I also firstly have
a very sharp pencil. That helps the pencil go down in a much smoother and
more consistent way. It generally gives me more control over
where the pencils go. Also, I would say kind of
using the side of the pencil, not the very side of the pencil, but the side of the tip. And again, I find that
the pencil goes down in a smoother and more
consistent way if I do this. So I'm not angling the pencil
pointing straight down. I'm working more to the side. You can see that because we haven't blended
it at this point, it's not perfectly smooth, and it looks a little bit
grainy, but that's okay. So now that I'm adding
in some of the eyebrow, I can see that this eyeshadow around here needs to be
made a little bit bigger. So let's add to this. And then I can start building up some more of that eyebrow. As I say, I'm looking for the underlying shading,
not the hairs. We'll add the hairs
in a bit later. So at this point, I am generally happy with the whole
top of the eye. I think the top of the
crease is looking good, and the eyebrow is
roughly marked in. Before I move on to the bottom, I'm just going to add a few more of these lines I can see, particularly around this kind
of central area along here. I'm doing this in
exactly the same way as I did a second ago, just quite rough and readily, adding in lines going in
a kind of horizontal way. And it's just building up
a little bit of texture. I'm going to fade it out
a bit towards the left. It's always easier with a
sharp pencil, remember. And then let's start focusing on the underside of the eye. Now, generally
speaking, there is quite a lot of
shading to add here, even in that water
line, as I mentioned, which is much darker
than I would expect. It's easiest to mark in where that water
line is going to go, go over my sketch lines here. And then I'm going
to start marking in the most obvious shapes. So I'm not worrying about
the eyelashes at this point. But I am noticing
that you can see within the skin various folds, there's kind of
forked shape here. It's quite dark around some of the lighter
eyelashes along here. I want to add some
general darker shading on the underside hip, avoiding this much
lighter spot. Here. Also wants to be adding in these crease lines,
which this time, I would say it's darkest on
the crease and then it's more darker shading towards the top and the same
on this line here. It's a darker line with
darker shading above it. I'm also noticing all of
these little dots along here. Just this patch here has
some quite prominent, I would say, skin texture with
all of these little dots. So I'm going to want
to bear that in mind as I'm filling in
all of these shapes. You can see that I've marked in the edge of that water line, and I'm just going to add some deep shading from there down. I think actually quite quickly, this whole drawing has ended up looking quite a nice
and accurate eye. It's obviously way too faded. But it's amazing to me how
quickly it can build up. So join the shading
underneath to this area on the top so that it all nicely smooths around. And I'm going to keep
working on the bottom. So really building
up a decent amount of shading under the eye. As I mentioned, this
area is quite dark. But you'll see I'm avoiding those lighter patches can then draw in the creases that I've already got
mapped out on my sketch, and I want to, as I mentioned, shade up from those lines. And I think this is
just about all of the shading that I want to
add in this first section. I'm just fading out around
the edge a little bit. I want a nice soft
edge to my eye. I also want it to be kind of
an oval shape on the paper, so I'm just going to fade
this out a little bit here. And then what I want to do
is smooth everything out. As I mentioned, I would
say, at this point, it looks quite scratchy and I want to have
a much smoother, particularly on the skin, I
want it to be much smoother. Before I move on,
I'm just going to add a little bit more here. I feel like I added
a decent amount of shading on the water line, it looks like it's just
got a little bit smudged. So let's just go over it again. Build up a bit more
on that lash line and around the darker corner of the white of the eye here. And then all I'm
going to do is take a piece of tissue
and just wrap it around my finger like I'm going to work in
circular motions. I want to be blending this all out and smoothing
everything out. And you can see by working in circular motions, I'm
not pressing hard. I'm still pressing
nice and lightly. It very, very quickly,
smooths everything together, and we get a much nicer kind of soft base that we're
going to work on. All of the skin looks
much better already. And it generally is going to be a nicer area to work with. I'm going over the
whole of the drawing. It does mean that some
of the lighter areas maybe aren't as light as they have been simply because it's basically
smudging everything. But we can always
add those light areas back in towards the end. That's not something we
need to worry about. So by the end of
this first section, what you should have is a very, very light and slightly
blurry drawing of an eye. It hasn't got any
sort of contrast. That's something that
we can be building up in the next few chapters, but it will get much easier
from here because we have a very clear template
of what we're working
8. Build up the Midtone Pencil: Now we've got everything
mapped in with the hardest pencil,
the lightest pencil. Let's move on to
the midtone pencil. Now, again, I'm
using Mac graphite. For this, I'm using
an eight B pencil. If you're using normal graphite, I'd probably recommend using a three or four B. I'm
going to work through this reasonably quickly because essentially what we're doing in this chapter is exactly the
same as the last chapter. But now we have a clearer
framework to be working from. It's easier to see what's
going where and also correct any mistakes that maybe something's
not looking right. I can correct it quite easily. So I'm going to work
in a very similar way to what I did before, starting off by filling around the edge that very dark
outline to the iris. And there's quite a thin line
down the bottom down here. Let's just get that mapped. Go up the other side, and you can see how much darker this pencil looks in
comparison to that first one, particularly because the
first one was blended, so that already made
it a lighter color. But I'm just going to
go over everything. Both make everything darker, giving it more contrast, but I also am going to want
to add in any extra details. So we're not going to get all of the details in
this next section, but I certainly want to get some more than wide did
in the first section. I've gone around the
outside of the iris, I can do exactly the
same as I did before. I want to be going
over this pupil. So outlining those
areas of light first. And as I say, this is so
much easier because I've already mapped in a lot of these shapes in
the last section. And then I can shade in all
of those top darker sections. So just like before, I've
shaded in over the pupil. I'm also shading
in over the top of each side and along the in
terms of how I'm doing this, it's very, very similar to
what I was doing before. I still want to be
pressing lightly. I'm not pressing really
firmly with the pencil. I want to gradually
build up the shading, but I don't need to be
pressing hard to do that. There are some areas
where generally speaking, I'm holding the pencil
quite far back as before, although there are
times like now, for example, where I'm holding the pencil close
to the tip because I want to be really focusing on trying to get this accurate. So the shape in this section
has already been marked in. You can see the reflection
of the eyelash. I'm just going to refine it, tweak the shapes a little bit, which has made so much easier now it's all been
initially marked in. So once I'm happy with
these areas of light, and then once again, going to go over all of the
details on the iris. So again, going over the
patterns within the iris, so all of these shapes
coming out from the center. I am literally going over these same shapes that I can
see I've already mapped in comparing my drawing to my reference photo to see
where I need to build up a bit more and just
generally like with the reflection where I
need to refine the shapes. I find it easiest
to go around add in these more defined
shapes like around here. And then once I'm
happy with that, I can add in some
more general shading. So anywhere where I generally think it needs to be
made a bit darker, and that is particularly closer generally towards either
the top or the pupil. I'm literally focusing on
drawing what I can see. If I can see an area needs a little bit more
shading, I'm going to build it. Let's do the same around
the right hand side. Again, going over all
of the shapes that I already marked in
around this iris. I very much think it's
the iris that's going to give the whole eye life. And then we can start moving
on to the white of the eye. Now, again, I can see all of the shapes that I
marked out before. So I can see the areas where
I previously either drew out some of the darker shapes or the edges of the
white, for example. So I can go over those same
shapes and add extra shade. Can also see on the
white of the eye where the slightly darker shading
was that I added before. So, particularly
around this area here, I could see it before it's looking too muted now
it's been blended. So I'm going to add
some more shading into the white of the eye. It's so important to remember how dark it's going
to need to be. Much darker than I think a
lot of us would imagine. But as I always say, I
want to focus on drawing what I see and not what
I think I can see. Go over the darker areas on the other side of the
eye here as well. You can see here how
I'm still working in those circular motions to try and make this as
smooth as possible. But hopefully, you can
see how this is very much the same process as we did
before going over the areas, gradually building
up the shading. I'm going to add a
little bit of detail in. I can kind of see a very
small vein on the eye here, on the white of the eye. This little vein around here and there's
something subtle here. So let's just put that in. These are some of the
details that I want to be adding in in this chapter. Then I can focus on
the tear duct here, filling in some of the shapes. Again, very much a case of going over what's already here. So I'm going to still work
through this in the same way. It's before I'm going to
start moving onto the eyelid. I'm starting off by blocking
in the lash line again. It's going to make it much easier to see
what's going where. And then I'm once
again going to go over some of these
lines on the eyelid. Just to define them
a little bit more, they're looking a bit too muted, and generally the whole eyelid, I would say, needs
to be made darker. So let's go over
the whole thing up. Again, remember
that the eyelid is darker on the left
and the far right, but lighter in the middle. So we want to be adding a
decent amount of shading on both of those areas and then leaving the middle a
little bit more alone. I am also going to go
over this crease here, which needs to be
such a deep shadow. It's probably one of the darkest areas of the whole drawing. I'm just working through these two areas together building up shading
on the eyelid, building up shading on
the grease of the eye. I'm pretty happy with
the left hand side. Let's fill in the crease
on the right as well. Remember, in the last chapter, we shaded up from that crease. So I can once again draw in a nice and crisp
line and then I'm going to shade up
from that point, just to blend it in nicely with the eyeshadow that she's
got higher up on her. Generally much darker
up in this patch. So we have previously added
some shading in here, but it's not looking
dark enough. So let's add more of it. And here you can see me holding the pencil further back and
working in these circles. This is a really good example of how it needs to be built up, particularly on the skin where I do want it to
be really smooth. Work over the whole of this
right hand side of the eye, just blocking in
that whole area. I feel like the more I add, the more the eye itself
is making sense. It's hard when
you've just filled in the iris and the pupil, I think it's kind of hard to
work out if it looks right. You kind of think it
looks a bit too dark, just because in comparison to the whole rest of the
background, it is quite dark. But we do need to
build all of that up so that it matches
the reference. Once again go over some of the lines that I can
see on the eyelid. I'm being very careful here going over what
I've already done, but also really trying where I can to follow the reference. There's so many lines and
creases on here that I think it will look really good at the end when
they're all added in. So I can start working on the area between the eye and
the eyebrow, this area here. And this is quite
nice and simple. It hasn't got really any
detail in this section. We're literally just
wanting to make a gradient from the dark line of the fold of the eye to where the eyeshadow ends
just underneath the eyebrow. There's quite a dark line that I mentioned in the last chapter. I'm once again just
going to build up this color a
little bit at a time, working in those light layers
and those circular motions until I feel like what I've got here matches the
reference photo. I don't expect it to be
a perfect match, though. This is our midtone color
that we're adding in, and there will be
a darker pencil that we're going to
need to use after. Also worth bearing in mind
that the lightest areas on this drawing actually probably aren't looking as light
as in some areas. I want them to because from where we blended
with the tissue, it's slightly going to
have smudged that pencil onto some of those lighter areas so they won't be looking
as light as they were. Let's once again go
over the eyebrow, any area where the eyebrow
needs to be a bit darker. Towards the end of this chapter, we can add some hairs
over the eyebrow, and I think that's going
to make the eyebrow much easier to visualize and to see
where we need to add more. Find the easiest thing to
do is to work through this. We want to be putting
something down with this pencil on
the whole of the eye, and then at the end,
we can think about if there's anywhere where we want
to add a little bit more. So let's focus on the
underside of the eye now, underneath that water line, particularly, where
it is so dark. I want to build up a decent
amount of the pencil under here so that it matches
the eyelid a bit better. Want to forget to add in
these creases, as well. Again, it's very easy to see where these need to
be added in because they were already mapped in the first chapter when we
added in the latest pencil. I find it's all so much
easier once you get past that first chapter because a lot of the color that
we need to be adding in, a lot of the shade has already
been roughly mapped in, and we're really just
tweaking it and adding to it. So that's the general
shading on the eye done. Now, before we move on
to the next chapter, I actually want to take a
minute to add in some details. So I'm particularly
thinking about the eyebrow and the eye lashes. If we get them marked
in at this point, I think it's going to make
life a lot easier as we go. So now with a really
nice and sharp pencil, all the same pencil we've been using throughout this chapter. I want to be making
flicking motions of hairs going in the direction I can see in the
reference photo. When we looked at the reference photo at
the very beginning, you'll remember that
the hairs don't all go necessarily in the
direction you'd imagine. Kind of feel like the hairs will all be going
towards the right. But actually, in this area
on the left hand side, the hairs are
generally sticking up, and they do kind
of curve around, but some of them go
a little bit crazy, particularly towards the top. I'm very much using the reference photo as a guide on where they
should be going. I don't need to get
it perfectly amazing. It doesn't need to be exactly the same as the reference photo, but I do want to
use it as I'm going to say, very strong inspiration. Adding in these
hairs at this point, bearing in mind, in a short
while we will be blending. We're going to create a
much softer look with the hair than if we just add all of the hairs
in at the very end. Adding in some of the hairs
with this medium pencil is going to create a softer and more natural look
with the eyebrows. Now, in terms of what
I'm actually doing here, I am just very gently brushing the pencil
against the paper, as I say, a very nice
and sharp pencil to create these light flicks. Now, it is worth
practicing making these flicks before adding
them onto the paper. Don't want to make
really heavy marks because you'll end up
with very wiry eyebrows. You want to make really
light pencil marks brushing lightly
against the paper, and that's going to create a softer and more natural look. You'll see it doesn't
look perfect. It doesn't look
perfectly realistic, but it will look much better when we've blended
it with the tissue. That, I do want to
add in the eyelashes. And actually, the eyelashes
are probably in many ways, easier than the eyebrows. There aren't as many hairs here, and because the eyelashes
have mascara on them, they're quite kind of wiry. I think that makes them
a bit easier to draw. So I can use what I've
already marked in, so particularly the iris and the pupil as a little
bit of a guide. So I can work out what
needs to go where. For example, these
eyelashes I'm adding here, you can see that these
eyelashes are pretty much where the outline of this
iris is meeting the eye, and they're they're curving round and going generally
in this direction. This eyelash is a
little bit over from that and it's going
in this direction. And as we get over to
these eyelashes over here, they really curl round and
are crossing over each other. But I'm just looking at which direction they're
all pointing in and trying to make it as close as I can to
that reference photo. Just like with the
eyebrow hairs, I want to make
sure that I've got a really nice and
sharp pencil for this. I'm actually not
making marks that are as kind of wispy as
on the eyebrows, but it's just going to be
much easier to control where the pencil is going if
I have a sharp pencil. Now, I am more than trying to add absolutely
every detail here. I'm focusing much more on getting the general
shape marked in. And I can add those final
details at the very end. So I just want to get something
down for the eyelashes. And then once I'm happy
with those eyelashes, really trying to copy the direction of them
from that reference. Just going to take
a minute to think about if there's
any extra shading I want to add before I
move on to blending. So, for example, here is
looking way too pale. I need a lot more shading in this area on this
right hand side. So I'm just going to go over
this a little bit more, build up a bit
more of the color. Of course, I can add
more of this in later. I just want it to be a bit
closer to the reference photo. Say the same generally
through the eyebrow. Actually, adding shading
over the top of all of those eyebrow hairs is going to soften them and make them
look a little bit less wiry. So I'm just going lightly in circular motions
over the eyebrow, very similar to what
we would have been doing before to smooth this out, smooth out those
hairs a little bit, and add some extra shading
on this left hand side, that's really standing
out to me that it's not looking right right now. Once I'm happy with everything
that has been marked in, I'm happy it's looking pretty accurate to the lights and
darks on that reference. I'm once again wrapping the
tissue around my finger. This is the same
tissue, although I'm using a clean section. And I'm once again
working lightly in circular motions to
smooth everything out. And look how much softer, particularly the
eyebrows look in comparison to the
rest of the picture. The tissue does get quite
dirty quite easily. So do make sure that you're frequently changing
to a clean bit. I'm just going to smooth
out some of the edges. And then by the end of
this second section, you should have
similar to what we had at the end of
the last section, but it has a little
bit more detail and also is a little bit darker. In the next section, we can
add in the darkest values.
9. Build up the Darkest and Lightest Areas: So now, all of the
shading has been added in with the lightest, the hardest pencil,
and the medium pencil. Let's do exactly the
same thing again, but now with the softest
and darkest pencil. So this is the 12 B pencil, and that's in the Mt graphite. If I was doing this
with normal graphite, I would use a six B pencil. And all I want to
do this time is just go over the darkest areas. I don't want to be going over any really light areas
with this pencil. I'll end up just
getting rid of all of the nice lightness that we've built up with
the other pencil. Very much the same as
what I've already done. I can once again go around the very dark edge of the iris. So you'll see that even
though I'm now working with a very dark pencil and I'm
working on the darkest areas, I'm still not pressing hard. I am holding the pencil
a little bit closer to the tip than I have
been in the past, simply because I want to have a good amount of control over
where the pencils going. It's all about finding
a balance between holding the pencil far back so that you're not pressing hard, but not holding it
so far back that you can't easily control
where the pencil's going. You see, I'm generally
still working in circular motions to try and get the pencil down as
smoothly as possible. I can start working
around the iris, filling in some of the
shading along here. Starting off by building up a reasonable amount of the
pencil towards the top where it does need to
be a lot darker as well as on the pupil here. Now, once again, do
remember that you want to have a nice and sharp
pencil when doing this. The pencil will go
down much nicer and more consistently
with a sharp pencil. Because this is a softer pencil, it is going to need
more sharpening, it's going to wear down faster. That's just something
to be aware of when building all of this up. I'm focusing on building up
the shading on this pupil, and then I can keep building
up some of the darker shading along the top
of the iris as well. Quite quickly, I feel it starts looking really like it's
got that extra pop. Now, this is still
quite nice and easy because I can see everything
I've already built up. I'm really only needing to go over areas that I will
want to be darker. Go over all of these strips, these darker strips
that are going from the pupil towards the
edge of the iris here, and then add some light shading, particularly closer to the pupil to just smooth it
out a little bit. Around the edge of the iris, I would say it
probably needs to be a little bit lighter
than it currently is, but we'll have a look at that a bit later on in this chapter. Let's start thinking about
working on this lash line. So the lash line, particularly along the top, is really quite dark. It is dark but thin along
the left hand side, and it gets thicker as it
works towards the right. So I'm just going to build up a bit more shading along here, generally make this line a
little bit more obvious. And you can still
see me working in those circular motions
like I am here. I'm just going to
smooth out, I think, the edge of this pupil as
well before going back over these eyelashes to just make these a
bit darker, as well. Once again, this is
all made a lot easier because I've already
mapped in all of the shapes in the last chapter and I just want to refine
what I've got here. Then a small amount of shading
on the white of the eye, only those darkest areas. I don't want to be going over
the whole white of the eye. So particularly this corner, I've mentioned this corner
before and how dark it is. As well as up here, it's
really very dark up here. The iris almost blends a little bit into the
white with how dark it is. And it's just from a shadow
created from that lash line. Same on the left
hand side as well. Add a little bit of extra
shadow towards this corner. And then start going along the eyelashes along
here as well. Some of these eyelashes
sort of curve a little bit in front of
the white of the eye. So I want to lightly add
those in and then start shading in the corner of the eye here. But I
can't stress enough. This is all areas that
I've already built up, areas that I've
already shaded in. So I want to be making
the corner of the eye, the skin around the
eye here a bit darker. There's a lot of makeup
on this lady's face, and it means that
the skin around here is needing to be shaded
to look quite dark. And I can go over the dark line, the dark crease of the eye. Really focusing on first marking in the
edge of that line, but then shading out
nice and lightly with circular motions just to get a really nice smooth
gradient here. And the same on the inner
corner of the eye along here. And I'm working around
all of the skin building up anywhere that
does need to be made darker. It's worth remembering that
even though I want to be getting a goodly amount of this shading built
up at this point, I will still be adding more
shading in the next chapter. So I do want to get it as accurate and as
smooth as possible, building up a really
good amount of contrast based on what I can
see on the reference photo. But if it's not exactly how I want the finished
drawing to be, that's okay. We will
be building more. Just build up a bit more shading over the eyebrow, as well, anywhere that will need
to be darker along here. And that helps to
just slightly smooth out the hairs from
the eyebrow, as well. And then I'm going
to start going over the lash line at the bottom, and generally all of
the creases along here and really refining
this a bit more, as well. I'll say again that it is so important to have
a sharp pencil, even more so when we're adding in details like these creases. So do you remember to be frequently sharpening
your pencil. Before moving on and blending, I'm once again going to
add some more flicks with my pencil just like I did in the last chapter on the eyebrow. So you can see, even though
this is a softer pencil, it's not creating
really hard marks. It's just making a bit more
texture up here that will give a little bit more
dimension into these eyebrows. This is much easier, though, in this chapter because all of the particularly directions of the hairs have already
been marked in. Let's just add a
really light bit of shading onto the white
of the eye here. On this right hand
side, as well, it's just not looking
quite dark enough, but I'm being so,
very, very light. And we're very much
heading towards the end of this part
of the chapter. I'm getting towards I feel
like the shading here is now looking pretty
accurate to the reference. Once I'm happy with the shading, I'm happy that it
matches as closely as it can for now to
that reference photo. What I wants to do is
blend this one final time. So because all of the pencil
is looking quite grainy, I just want to smooth that out. Once again, take the tissue. I'm using the same tissue, although a clean
part of the tissue to very lightly now
make circular motions. I don't want to blend a huge amount because this
is such a soft pencil, it will just make a
big old blurry mess. But I do want it to look
a little bit smoother. Now, what that's
done is left me with a very blurry drawing. Lot of the very light
areas have now been lost. They're kind of all muddied because of all of that blending. So what I want to
do in this part of the chapter is brighten
everything up, lighten up all of those
light areas again. So I'm going to use
both of the erasers to start with here the putty
eraser and we'll use the electric eraser in
a second to add all of those light areas back
in that have been lost. See that I'm molding
the eraser and just dabbing it against the paper. So, for example,
the skin up here, there's a light area. So this light patch along here, I want to add this back in. And as I said, I
can just lightly dab that eraser
against the paper. The key is to keep dabbing
it a little bit at a time, because it can look a little
bit patchy to start with. If it still looks
patchy towards the end, we can always smooth that out with the pencil in
the final section. Notice that I am frequently
re kneading the eraser, making it into a
different shape, and generally using a
fresh area of the eraser. So let's add the
little light kind of shape in the
corner here back in, just lightly again, dabbing
the eraser against the paper. And now I'm going to mold the eraser into a
kind of point shaped, and I can start
working on some areas, some fiiner detail areas. Frustratingly, it's not easy
to see what I'm doing here. I'm just erasing some of the corner of the
eye along the skin, still with dabbing that eraser. And then let's also just
lighten up along the eyelid a little bit and go around the particularly
outside of the iris. There's kind of a
series of light dots. You see all of
these light dots in between the darker areas
that have gone down. I can dab the eraser into those light dots and just lift a small amount
of that graphite. And I just think it's
making a massive difference to the look of the iris, taking a small amount
of this graphite off. So again, you don't need to be pressing hard with the eraser. The graphite comes up
very, very easily. Lighten along the bottom, along this lash line
along here as well. There's a little bit
of a light glean along just below the waterline. And then I'm just going to use the same eraser just to slightly
tidy up around the edge. Again, where I have
blended with the tissue, it's just slightly
blended some of that graphite a little bit
further out than I wanted. So I can clean that up. And then keep working with the eraser, any other areas where I think it just needs to
be a little bit lighter. So still working
around the bottom. I've slightly
lightened the white of the eye with
the putty eraser, and then I can move on
to the electric eraser. So for the electric eraser, this is for areas that need
a real amount of precision. So, particularly the white
patch on the eye here, this area of light. It needs to be very, very light along here. Where where I'm
happy for there to be quite a kind of harsh line. I think of the putty eraser as creating really
soft light patches. This creates much more definite and detailed
light patches, but they do tend to
have harsh lines, which is fine as long as
you bear that in mind. Now, something that I haven't filmed me doing here is I do find once I've erased a certain amount with
the electric eraser, it stops working, as well. So I frequently take
my eraser away and just cut off a tiny
sliver off the end. And then it's like
having a fresh eraser without having to waste. Add some lines along the eyelid along here before we added
some texture along here, which is a little bit lost, but I can just add
some lines going in the direction of that
texture to add this back in. I'm also going to
very lightly add some eyelashes around here. So look at all these very subtle little white eyelashes
all around here. These are the kind
of details that make your drawing look
realistic adding these you can see that I've
just really lightly with this eraser gone over those eyelashes so
that they're there, but only very subtly. I don't want to add really thick white lines
to add these in, so I don't want to be pressing
hard with the eraser. I just want to lightly
brush it against the paper. Let's also go over
the skin here. This skin has some kind of dotty texture down the
bottom in just this patch. I want to add dots
with the eraser, and that's creating some
really interesting texture. That we'll be able to refine a little bit with the
pencil towards the end. But as I say, it's
details like this that really help bring the
whole drawing together. I'm also just going
to lighten up a few areas around the
top of the eyelashes. Particularly in
this corner around here needs to be
much, much lighter. And let's add some little
hints of texture like I did on the eyelid up the
top here as well. That also helps just smooth out the slightly harsh edges
from that putty eraser. Quite quickly, I would
say, we've ended up with a much more detailed and
much lighter looking eye. All of those light
patches that were lost before are looking
much, much better. Now, as I mentioned,
I don't want to blend with the tissue again
beyond this point. That said, for a few areas, it would benefit
to just slightly reduce the harsh edges
that are created, particularly by this eraser. I am going to blend a
tiny bit one more time, but can you see how
little I'm using this? It's just to tone
down a tiny bit, some of that light. But I'm by no means blending
in the same way that I did. I'm almost just gently brushing my finger
against the paper. And it's just stopping it from being as harsh, bright white. So I can lightly
go around some of the edges along here and
on that corner of the eye. And then that is
looking so much better. So in the next chapter, we
can add in the final details.
10. Add in the Final Details: Now I've added in all of the lightest areas
with the eraser. Let's go back to
the 12 B pencil. This is the softest
pencil and add in all of those
darkest areas again. So this is pretty much exactly the same as what I
did in the last chapter. I'm only really
on the most part, focusing on those darkest areas. But where we added it
in before and then blended it with a tissue,
it's a little bit lost. It's not looking
as dark as it did. So I want to go through and
add it in one final time. It's also much more final now. It should be that
everything we add in is a final finished drawing. And it's much easier to make sure that it is
kind of final and finished because we've got all the light areas
added in now. It should be possible to make everything match
the reference photo. So generally going to start on the left and work
towards the right, going over the eyelashes to
begin as I've said before, this is so much easier
because it's all so neatly and
thoroughly marked in. I want to maybe add the odd extra eyelash
here and there where I can see that it's
not looking quite right. But for the most
part, it is very much a case of going over
what I've already done. You can see me just gently
brushing the paper with my nice and sharp pencil here
to add in those eyelashes. As I'm happy with the eyelashes, I can then go back over this particularly dark
crease along here, lightly blending it
with the skin above, so still using those
circular motions. Even though this is
the final layer, this is the final details. I'm still pressing
nice and lightly. I don't want to be pressing
hard throughout any of this. Also going to build up some
more of the shading on, particularly this patch here. This skin just needs to be
really very dark because of the smoky eye from the
makeup the lady's wearing. I need to build up a decent
amount of the pencil here, but really focusing on making it as smooth as possible
because remember, we're not blending
this again now. So whatever I do, at this point, that is the final. That's what it's
going to look like. So I want to nice
these smooth it into the light patch that I added in with the eraser
in the last chapter. The skin along the top of the eye there is
looking much better. Let's take a minute to
focus on the eye itself. The pupil needs to
be a lot darker. It's pretty much black
in the reference photo. Remember, I want to have a nice and soft line
around the edge. I don't want to have a really
harsh line to the edge of the pupil simply because I can't see that in
the reference photo. It's blending very nicely
into the edge of the iris. Want to build up a
lot of the pencil, particularly along the top
of the eye, along here. Again, along whether lash line is meeting the top of the iris. It's just very dark. But this is everything
we have done before. Now I want to particularly
make the edge of the iris a bit darker and those odd patches on the white of the eye, the same as I did before, make those a little bit darker and around the
corner of the eye here. You can see with pressing
lightly with the pencil, you're able to build up quite
small amounts of shading, meaning that I can add in some quite fine details, really. It's come back to this area, add some extra shading. I find that I do need
to keep coming back to the same areas because
the skin is so dark, particularly around this
area here, for example, and on the right hand side, I'm just building up bit by bit. As I add in more with the
eyelashes, for example, it becomes more obvious
other areas where I need to build up
more of the shading. Let's go over the
bottom eyelashes, make these a lot darker. Again, I'm looking at what I've already got mapped in here. A lot of these shapes
are already marked in, but I just want to make
them a bit clearer, maybe slightly refine them. I'm doing this with such
a nice and sharp pencil. You can see I'm not working
with a blunt pencil at any point that would
make this so difficult. I wouldn't be able to
make the nice lines that I'm able to make her. Forget just like I
talked about before, the lashes are longer on the right hand side and generally shorter
towards the left, so they're longer towards
the outer corner of the eye. So I am making longer
lash lines along here. And then once I've
added those lashes in, I then want to add
some shading to the skin underneath
those lashes. So once I've added
in the lashes as dark as I want them to be, is making the whole skin
underneath look way too light, so I can add that in really
make it a lot darker. And that's making the water line stand out a lot to make sure I'm avoiding going over those light patches I
added with the eraser. Because I don't want to
add them in and then immediately go back over them. And then adding all of this down the bottom once again
shows me that I want to add a little bit more shading onto the
skin around here. So you can see I just keep
coming back to this same area, building up more, again, with those circular
motions to gradually bit by bit make this as dark
as the reference photo. But it's not a case of just working on one area at
a time, necessarily. I think it is much easier to
kind of go back and forth as it becomes more apparent that more shading needs adding. Same for this right
hand side as well. I once again want to add
some more along here. So I'm going to go
back to the eyebrow, add some more flicks
with the pencil, just like we did in
the last chapter. Make this look a
little bit fuller. I just keeping on going over this area with nice
and light flicks, gradually building
up the texture of the eyebrow until I
think it's looking right. It's really all starting
to come together now. So again, let's draw our attention back to
this area down here, making this bottom
part a lot darker. And whilst I'm here, I'm just going to add a really
thin line along the bottom here to just refine that add
in that little extra detail. Before, again, going
back to the eyelid. Now, I do find it sometimes
helps to take a step back and have a look at the drawing from
a bit further away, especially if you've been
drawing for a while, it at a point gets a little bit harder to see
what needs to go where. You kind of get a little
bit blind to it, I guess. This point, I really
want to be thinking about if there's any details. So I'm particularly noticing
the edge of the eye here is not looking
blurred enough. I've talked a lot about how it's not a very crisp
line along here, and I think it's looking
too crisp at the moment. So let's just smooth out some of the bits on the
eye itself before, once again, nice
and lightly with secular motions going
back to the skin. Thinking about adding
in those final parts, I have taken a step back, and I think along here, the shading and
the dark eyeshadow is not coming down far enough. I think it stops too close to being level with the eyebrow, I guess, and it needs to extend a little bit further
towards the right. So I'm just going to spend
a few minutes building up some of the shading in
this right hand corner, really bringing that darkness down a little bit towards
the right hand side. Again, thinking about
any other area. I'm actually going to
make this light patch, particularly along here,
a little bit darker. I think it's a bit too light and smooth out down the bottom
a bit better as well. But these are absolutely
the smallest final tweaks. Let's add a little
bit of a crisper line along the water line just here, and then add a bit more shading, just slightly smooth out some of the hairs on the eyebrow here. It's particularly dark. There's quite a dark line
along this edge here. So I just want to
make it a little bit darker and a little
bit smoother. Then that is the
end of the drawing. I hope you've enjoyed
this tutorial, and I look forward to
seeing you in the next.
11. Summary: Alright, and that is
the end of the drawing. I do hope you've
enjoyed it and have created a really
beautiful, smoky eye. There's just something so
satisfying about drawing eyes. So you always want
to take your time to pick the right reference
photo that has a really good level of contrast before taking the time to
map out an accurate sketch. You then want to
have a good look at the reference photo before even thinking about
starting to draw. Then gradually build up
layers of the graphite, working from the hardest pencil towards the softest pencil, blending in between each layer. From here, you can add all of the areas of light back in using the two different
erasers before adding the final details again
with the softest pencil. Now, I do hope that you've
enjoyed this tutorial. If you have, please
do leave a review, and don't forget to upload your pictures into
the class projects. Happy drawing, guys, and I'll
see you in the next course.
Gemma Chambers, Pencil Artist
