How To Draw Eyes - Intermediate Shapes and Forms

1. Trailer: Welcome to this Intermediate class for drawing the eyes for those of us who have had difficulty illustrating this rather challenging area, this class is going to take you through a very thorough yet simplified approach to constructing the eye and its surrounding structures. We're not going to worry too much about detailed anatomy. Instead, this class is going to focus primarily on simplified shapes and Positioning and approaching things in a very lead white. We'll start with the underlying Skeleton shapes before gradually building up layers of muscle and bone and ended up with a little bit of Rendering. If the eyes have been a tricky subject for you in the past, or if you'll look into elevate into the next level, then this class is been used. So Let's Begin 2. Eye Cavity, Nasal Bone & Keystone: Let's get started creating our underlying skeleton foundations. We're going to draw this underlying anatomy in a very box-like white with lots of corners and edges. And we're going to do this for two specific reasons. First, it's just going to help us simplify the eye socket area. It's not a particularly difficult area to draw bought, bought practicing drawing, its construction this white, it's going to help us understand things a little bit better when we move to more dynamic positions. The more corners that we have in our construction, the better and understanding we have about our object's placement in its 3D environment. The second reason we're using a boxy approach first off is that it's an easy way to identify the key characteristics, the forms, the shapes, the plane changes sometimes are a little bit too subtle at first. So we're going to exaggerate their characteristics a bit. And the first shape is simply the eye cavity, which is a rounded box shape that has a slight diagonal tilt to it. This cavity shape is going to be a little bit different from person to person. Sometimes a little more books, yeah. Sometimes more rounded. Usually it's wider than its height. It's also not a perfect box by any means. Now, one of the biggest issues that we have when drawing the eyes is creating that sense of depth. The biggest reason we usually screw up in this areas that we don't take into account where the eyeball is positioned relative to its surrounding bones and muscles. The big thing we often overlook when we start to study the eyes is that they sit within the skull. This is in contrast to the other facial features. The nose is in even the mouth. All of these up protruding outwards. So how do we tackle this? Well, we start with the simplest concept first, which is that the eye is really just a bowl in a hole. And that might seem an overly simplistic concept. That's literally all it is. It's the spherical object that peaks out from this raw that Kevin this area. So starting with this bowl in the whole id is our first step. Next step for this to gradually build up the surrounding shapes and forms. So I'm moving on to the nasal cavity now, which starts about a third of the way up from the bottom of our eye cavity. And it's best described as being an upside down hot shape. So again, nice simple shapes. You could even call it an arrow tip shape if you really wanted to. We're not going to get too technical with anatomical names and terms in this lesson. As you can see, there's also a center line here, and we're going to use that shortly to create what is a very important transitional part that we are going to have to remember. And it's going to be a few of these landmarks that we are going to have to pay attention to because it's going to help us create more believable. Iso will get to those shortly. Now I'm just going to swing on iron first drawing a little bit more of the opposite eye cavity. We're only going to focus on one or in this lesson however. So this is just to give us a bit more context all that. This is a pretty terrible position here. So I might erase this and try it again. So it's just a little bit, a little bit closer to the Moxa. Let's move that over and that's a little bit of a better position. So we might stick with this position for now. But going back to this transitional pop, this is called the glabella, and it's the bridge between our forehead and our nasal bone. Its simplified form is very similar to that of a keystone. If you've ever seen a brick arch wipe. The Keystone is that middle brick that supports the surrounding bricks and has a wedge-shaped to it, the glabella, more or less Ax and Ay very similar wipe. Now one thing about it that is tricky to see from the front is that it tilts down and embeds itself underneath the nasal bone. It's a lot easier to say this from my three-quarter or side view. And because of that tilt, it means in most instances there's going to be some level of shedder present heat. So again, it tilts forward. The nasal bone then wraps itself around it almost like a piece of pipe up. That glabella is usually quite rounded and more odd shaped than this. But for the purposes of demonstration, we're going to box it off and adding some transitional side planes which are sloping down towards our eye cavity. So think of these planes as being a bit like a sloping ramp. Now because they sawed plans atoning a white from the front, it means they are going to capture even less light than the front of our glabella. So every change of plan is going to result in a change of level in the shadows, which is how we start to create depth. The nasal bone sits furthest out, so it's capturing most of the light. So I'll paint that in here just on the top plane here to make it nice and bright, just to showcase that. And as we gradually move back into the image, h plane change is going to get slightly darker. So again, the nasal bone receives most of the light as it sits out in front. The glabella sits behind it in the mid tones. It's sidelined, sloped towards the shadows. And of course, the eye cavity sits furthest back into the darkest areas. We're working in layers of shape and plain changes to help produce that sense of debt. Now we have one lost area to place in, and it's sort of a border for our cavity. This is a hexagonal shape and it starts quite thin around the top, before it swings around and meets up with roughly the middle of the nasal bone. You can think of this as being a little bit like the rim of a coffee cup really. Basically it's applying that slopes into a halt and that slip maintenance going to have light effected in a different way depending on which plane is facing the light. So in this instance, our light is coming from above, which means the upper planes will be in shadow, whilst the bottom plants will capture more of the light. What you might be starting to see here is that it's beginning to look as if there's an undefined that is developing along the top part of our shapes and forms. And that's precisely what we're looking for. What we are going to find is that most of the other structures that we build around the eyeball are going to hang over it a little bit like a rooftop owning or a canopy. And this is subsequently going to result in a lot of costs. Shadow being formed around the top of the eye, the bottom area of our cavity border, as mentioned, that's going to capture a lot more light. So I'll paint some of that in here just to make that nice and clear. So when you hear the phrase the dock of the eyes, what's usually being referred to as the cast shadow that forms heat. But we've got a bit more to construct. You're also doing just a little bit of a recap so far, we've started with the rounded box shape breakout cavity. We've laid in our nasal bone, which is wrapping over the top of that keystone shape glabella. And we've lastly added in that hexagonal border that slopes down into our hall. So we'll consider these inner structures done n. Let's now move on to the outer structures 3. Zygomatic, Brow and Eyeball Position: Let's move on to the outside area where we've got a great deal of natural Ahmed plotting that surrounds the eye. And the first new landmark we've got a construct is the temporal corner. And as the name suggests, this is the corner point between the front plane and the side plane of the head. It's probably the most useful landmark we have because it gives us a real obvious way to square off our head shapes. This ridge then curves outward and merges into what is probably the most unusual bone structure called the zygomatic bone. Now, this bind extends out beyond the width of the skull. It's a bit of an unusual shape. It wraps around the eye cavity, but then it also wraps around to the side plane of the head. It's a lot easier to see this from a three-quarter view. It's very bulky and very boxy around the front, and then turns into a small piece of piping and wraps itself around to the side where the ear is. You could almost think of it as being very similar in shape to a pair of spectacles or pair of sunglasses. So if you want an easy to remember shape, think of how pair of sunglasses sits across the face. And this is more or less how these automatic is positioned. From the front. It's a sort of boxy triangular shape that then swings back around and down and then makes its way to the maxilla. The maxilla is the main muzzle of a fight so that spherical section where our teeth reside. So our zygomatic ox, it's way down here, roughly at about a 45 degree angle, and then merges into that maxilla. The nasal bone will also snake its way down to this point as well. And of course, this is roughly where the teeth begin, so things are starting to take shape. I'll draw a little bit more of the lower jaw in as well, just to help give a little bit more context as to what we're doing. And also do a little bit of clean up here as well. We'll do a bit more refinement for the structures around the zygomatic in a moment as well. This isn't okay foundation, but there's a few more corners and planes here that are really going to help us level up our understanding of the head a little bit more. For instance, as the zygomatic turns inwards, it begins to create this triangular shaped planet tilts down slightly towards us. And if it's tilting down slightly towards this, it means it's not going to capture nearly as much light as the plane above it. And it's this type of subtle change in shape and positioning that is going to start to push her eyes and surrounding anatomy to a high level. How subtle do these changes have to be? Well, the type of skull structure here is quite simplified, but you can also get different types of models with very sophisticated plane changes. And of course there's actual skulls you can drove home as well if you want the extra challenge. So work your way up in difficulty with these things. Now, moving back to our zygomatic bone, let's develop this a little bit more. We're going to first sub-divide this triangular part through the middle. And then we're going to connect it to the corners both above and below. So we're getting an even clearer understanding of our shapes. And also notice how things are starting to look a lot fuller in volume in this area two. And this is because we've got a lot more corners that we've added in here and more changes in light and shadow. As a result, these corners are creating a sense of movement. Every time a new corner begins, a new shift in light and shadow takes place, which our eyes will then subsequently follow along with. So the key to creating depth and form is creating this movement across the interior of our shapes. So now I'm going to shift focus to the last area to build up and that's the brow ridge. This is the most Ahmed area around the eye. It's also the thickest part of the frontal ridge. So if there's any way where we want to get hit, it's definitely here. This is the orbital arch that moves its way across and overlaps all the other shapes below it. So it's the most prominent area around the eye socket. It's more noticeable on men than it is women. Oscars, we have more robust facial features for women, it's a far subtler series of forms. This shape then breaks off into two parts. The first follows the path of the eyebrows and shaped a little bit like a canine tooth. Or you can even think of it as a sort of simplified wing, I suppose. And it's going to terminate roughly about halfway across their forehead. And it's also going to connect to the side plane of our glabella. So it's cooling down towards our shadow area. And because it's overlapping everything else, it means it's going to capture a lot more light above it. All right, the last part of our brow ridges, almost a triangular shape that sits slightly below it in a wing here. And it also has a very sharp in books he cornered change that merges into our zygomatic bone. It's a corner change that not only moves down, but it's also moving backwards into the picture as well. That shift backwards is again, a lot easier to see from the side and is what helps to give us that peripheral vision? Well, this means then is that the zygomatic area is sitting further back than our nasal bone. So we're nearly done without initial structures. We've got one more small piece to add in, and that's this small plane on top of our glabella. This follows along with their brow ridge and kinda makes the whole area look a little bit like a diamond. So that's how I like to remember it. But again, this is the most prominent area of the forehead, which as was mentioned, this is going to act a bit like a rooftop canopy that's going to cover the eyes. So just to do a recap, we started with the orbital cavity, that random book shite. We began to build up our nasal structures, the keystone glabella, the cavity border. We then moved on to the more Ahmed areas around the eye, the temporal corner, that unusual shape and the zygomatic bone. And lastly, the Breckinridge shapes and forms. But there is of course, one thing missing here, and that is the eyeball we've gone to all this effort, so let's not forget to finish it all off. So obviously the eyeball sits in the middle somewhere. The real question is, how much space does it occupied? Does it fill up the entire hall? Is it just a little bit? How big is this thing? Well, first, let's just put in a cross axis in the middle to give us a starting point. So where do we go from here? Well, if we go back to where our zygomatic bone turns inwards at that 45-degree angle. And if we draw a guideline up from here, we'll find that the intersection of that diagonal and the horizontal axis is approximately the width of the eyeball. Now, this is just a rough guide. It's not an exact measurement, so it will vary a little bit. But generally speaking, there's more space on the sides than there is above and below the eyeball. And again, because the brow ridge is hanging over like a rooftop, it means we're going to get a cast shadow forming across our eyeball. And that's really what starts to sell to the audience that this is a bowl in a hall. The truth is, we don't need to draw all this information into sell the illusion. We don't need to draw in every lumps and bumps are replying and shadow change every crystal fault. We just need to put in enough information for the audience to understand and now follow along. So that's how costs shadow driving over the UI from that upper canopy. Now, I'll just add in the r's foundations, the colored part of the eye, which takes up roughly about 50 per cent of the space here, the pupil, the black pot that goes on top, which is going to change in size depending on the lighting conditions. There is another area here that we can actually see from the front called the cornea, which is basically the eyes natural contact lens that's more noticeable from the side and can actually change the shape of the lids as well if the eye moves. So things are coming together really nicely here, but is there anything missing? Of course, there's something missing. It wouldn't be an I if we didn't add in a little bit of highlight. So I'll just start the adult that in now, this is the broadest part that will end up pioneer. We'll get into more about this a little bit lighter as we do the flesh covered demo, but there's a few more highlights that can actually p here, but that will do it for these underlying structures. Let's move on to our second demonstration. 4. Corrugator and Temporal Arch: So now we're going to paint over what we've done and add in some more organic forms. Now the good news is, we don't actually have many pots to remember, hey, there's really only one muscle that sits over the top of this and it's somewhat of a doughnut shape. And in many instances we can get away with just using this, but we're going to take things to a more refined level, giving us a greater understanding of how to construct the eye. So we're going to split this doughnut up into five separate pieces. We're going to paint them up in different colors as well and exaggerate their shape a little bit, just so that where 100% clear with what's going on. So our first shape is going to follow along with our Brow Ridge. And we'll make it a nice bright blue color. And this treks along the same path as our eyebrows. There was a small muscle underneath here that controls the inner functions of the eyebrows called the corrugator. So anytime you make an intense angry face, we'll get wrinkles along the forehead. This is the muscle doing all the work. So I basically the frowning muscle is I like to call it. So that's how corrugator shape. You can again describe it as a canine tooth shape or even a stretch teardrop shape or a carrot shape, even whichever works for you. And I'll just add in a little bit more shadow and lighting here just to create a bit more sense of form. And it's gonna be important to think of this shape is wrapping around and merging into our glabella. And I'll also add in some cross contour lines here, again, to help to indicate this movement. Now, these cross contours are always gonna be your best friends when developing form and implying directional movements. So it's suggested that you use them often. So as you can see, I cross contours are gradually shifting over and its curvature from one direction to the other. And it's helping to imply that roundness. So that's our corrugator shape done. Let's move on to the rest of the Brow Ridge. And this next shape is out Temporal Arch, and I'll paint this one in red. Now, this Temporal Arch is bit of an odd one and requires a specific starting point, which is the T Duct. So where do we put the Tear Duct? Well, the two Duct is the inner corner of the eye ends. It's lower down than the outside corner. So that landmark is the starting point for our Temporal Arch. And it's going to wrap around both are eye and the rest of the Brow Ridge. So if we start to swing it around like so we'll brush pass the corrugator and gradually make our way around. This starting point is quite deep. So this means the Temporal Arch is sitting beneath out corrugator shape before gradually pushing its way out and around and eventually terminating around to the outside corner of our eye. So just weigh the zygomatic bone is this Arch is then going to cross back over the top of the eyeball and then follow the circumference of the bowl, old white back to where it began. We want to think of this shape is being very soft and very pillow like because in most instances it's going to hang over a portion of the eyeball. It's almost going to act like a piece of fabric draping over. Now, how much it hangs over will vary from person to person. So we'll just have to make adjustments as required. So that's how shapes, a little bit of a tadpole shape really is probably what you describe it as. I'll start to shade in this area. So it's gonna be quite dark in this mole cabinets area. And then we'll gradually get more light as it rises above the Brow Ridge. We'll also find is that all Temporal Arch is going to form a very noticeable crease between itself and the upper eyelid. And we'll draw that pot a little bit lighter on. It's a very noticeable fall that wraps over the eye. There isn't exception to this with regards to people from East Asia where sometimes you'll find that the creases either very subtle or it's a case where the Arch drapes over the eyelids so much that it basically cancels out any folds increases that might appear. This is also the case for some older people as well as we age, this Arch starts to sag down more and more. So just pay attention to what's happening with the Temporal Arch as you practice, because there's going to be a little bit of variety as to how it behaves. There aren't really any soft parts around out eye socket per say. But we do want to treat these Arch as if it's a little bit softer, a little bit more pillow like. But for the most part, it's a lot of natural AMA here, a lot of natural protection that we're lucky to have out eyes, very delicate features and nature has fortuitously given us at least some level of protection here, the Brow Ridge offers us the most protection. We've got less protection on the outside however. So it's not perfect armour by any means, but that lack of side ARMA allows us to have peripheral vision. If we had more bony structures along the outside, we wouldn't have nearly as wide a field of view as we do. We wouldn't have the ability to see that potential attack coming at us from the side. So there's a bit of a trade-off, less protection but more depth perception. And that goes for all the predator animals out there. Eyes are out in front of our skull and it gives us that bind Nokia focus. The grazing animals like the all that gazelle. Those animals have their eyes to the side and they also move laterally, which allows them a much different field of view to alert them to potential dangers. So again, a little bit of a recap. We started with their car, got a shape. We follow that up with our Temporal Arch, which starts below at corrugator and wraps itself around the Brow Ridge towards the zygomatic bone. So where do we go from here? Well, let's finish off the gap between these two parts and start to painting our next shape. Now I call this the orbital strip. That's not its actual name. There is a little bit of a Bone onto here that has a proper anatomical name that I can't remember right now, but this is what I call it. This little strip sits underneath both of these parts. So it's getting further back into the environment. He further back into that 3D space. So if we're thinking in terms of layers, we've got out corrugator sitting on top. We've got at Temporal Arch, which is sitting slightly below that. And behind both of these is our orbital strip. So I'm going to paint this in a nice green color. It is going to terminate roughly in line with the T Duct. So why do we call this the strip? Well, because it's very flat and it's very fabric luck. It's almost really more like a piece of Pipa, a piece of paper that then curls its way underneath towards our Temporal Arch in a sort of cone-shaped way. So if you think of a piece of paper and roll it up diagonally from the corner. This is going to behave in a rather similar way. So it's kinda get very dark in this area. It's got two other Shapes sitting above it and it's tucking, it's way below both, which means there's gonna be an awful lot of cast shadow that's taking place it at least around the top half. In most cases, the top off is going to get most of the darkness in this area. The bottom half will still usually get some level of light hitting it. Again, this is going to depend a lot on the lighting conditions, but even the night, more diffused lighting situation, this trip is still going to produce a lot of shadows where it meets the Temporal Arch. Now there is a strong relationship between the strip and the Temporal Arch. We've separated them Hey, to make things obvious. But when we put things together in practice, we want to have our Arch smoothly transition into our orbital strip. This thing gives up the illusion that this is one giant shape that is curling over itself. So it's going to look a lot like a giant piece of fabric that's twisting over before draping over the eye socket. But we separate them here first in order to understand their Positioning and Spice because this is one of the more challenging areas to get right with that eyes. Once we get a handle of this Positioning and their behaviors, we can then combine them together as one shapes. So a final recap for this section. Now, corrugator sits at front, at Temporal Arch, kills over and sits below it out orbital strip toxin and under both eventually merging into our Temporal Arch and is usually going to be the most shadowy areas. So we're building up our layers of depth. That's the top of that eye sockets complete. The good news is that's the most complicated area. And not just because of the shape and it Positioning, but also because a lot of things can change depending on the facial expressions as well. So we'll finish this off here and move on to the bottom of the eye sockets 5. Zygomatic Arch & Tear Duct Fold: Onto the bottom. Now the good news is that we don't have much here to construct. The main shape is simply going to follow along with the base of our eyeball. And it's the zygomatic arch. We've already got a notch above and now we've got an Arch below. So the zygomatic arch is going to stop below out Temporal Arch, so toxin underneath Head, but it's roughly going to be the same size as it. And it's going to behave in a very similar way to so it's going to be wrapping around from the side and snaking its way to the front and terminating roundabout way to tie Duct is so very similar shapes and transitions. It's not going to end nearly as deep or become nearly as narrow and it's a pretty consistent thickness all the way around. So just a big old thick C-shape area will also find that it links up to our orbital strip eventually as well. And of course cuts across to create out Tear Duct. And as we can see, we're starting to finally unify all these different parts together. And I'll start to add in some shading here as well, just so it matches everything else. So I'll shade these in now as zygomatic arch is not going to be as puffy old bulgy as our temporal region. In fact, it's quite a flat area in comparison, It's almost like a flat disc, a bit like a CD. If you can think of that, we can get some level of puffiness forming here with certain facial expressions. So if we create a really intense angry face or a snarling expression as if for some kind of wild Christ animal. And sometimes even a smiling expression, anything that lifts the cheeks up then yes, we will start to see this Arch around a lot more and become a bit puffier and rounded. But in most instances, we usually better applying it a little bit SIPC, at least for adults. If we're Drawing children, then having this area be a bit more rounded and Poppaea is not really going to hump things too much. In fact, roundedness and curvature helped to signify youth, so it's not a bad choice. So just make adjustments as necessary. So continuing to develop the form here. And you can kinda see how these structures are starting to combine together to make that doughnut shape that we saw earlier on. The real trick with this collection of Forms is getting them to really wrap around the curvature of the eye, which is not easy for us to do, especially for those of us who are just starting out or it's just starting eyes for the first time. So curvature is the key component. Even if we're drawing more cartoonish or comic book style eyes, we always want our shapes, forms and lawn work to really be arching over to some degree. But as mentioned, we stopped quite flat with as zygomatic arch and then gradually become more curved as we make our way around underneath the temporal region. So overall are relatively simple shape to develop that, as we mentioned, wraps itself around to the other side. Now, I'm going to do a little bit of clean-up work here around the temporal area, I just add a little bit more brightness and color. A little bit more of a vibrant red time, but this is pretty much weight. We could leave things. But if we want the fullest understanding of eye construction, we really need to take it all the way and get as much information as we can no matter how subtle it is. So it can sit up this next part to be a little bit of an optional extra depending on the character that you'll Drawing. And the last shape is the T Duct Fold. And I might just make this one a little bit broader in color so it stands out a bit more so as the name suggests, this is the Tear Duct Fold and at butts right up against the T duck. And it's not really a separate shape in its own right, but it's more of a deformity of the zygomatic arch. And it's usually something that is age-related. So something we develop as we get older, although it can appear in young people to sometimes as well. So just keep an eye out for that. Usually, you'll find that this blends into our zygomatic arch below. That blending can be very subtle. It could also be quite prominent as well. How far it wraps around is also going to vary from person to person two. So it's a little bit of a pillow shaped area that pushes out from the colon up. So that's gonna do it for all eye socket structures. Let's move on now to doing the eyelids 6. Eyelids: All right. We're on the homestretch now and the good news is both eyelids or of a similar shape. So that makes life easier for us. Anything that can make the learning experience a lot easier is more than welcome to. The first thing that we're going to have to do is to map out the general shape of the eye. Now, there's a lot of variety in eyes shapes and it's virtually impossible to cover every aspect of them. But there are a few general characteristics that are pretty universal regardless of sex, age, or ethnicity. The first is that the eye is roughly shaped like a lemon. Mostly ran structure with a little bit of a nib at the end poking out. So think of it as a rough lemon shape starting point. As was mentioned early up in a corner where our Tear Duct sits, is going to sit a little bit lower than the outside corner. What we need to avoid doing, and this is usually a big Begin to air up, is making the opening look like an almond or the type of eyes that you've seen, those old Egyptian hieroglyphics. So this is the mat for our top lid. Take notice of how the top lead merges into the Temporal Arch down below. This is a small but important area to remember because they are opposite, is positioned above our bottom Eyelid. And this is going to help sell that illusion. Take note also how the dark crease is beginning to form as well between these two parts that we talked about earlier. But just going back to the general shape, we want to avoid this been to even all the way around at all costs. If we want them both simplified it and then a lemon, a slightly rounded tilting box is our next best option. If we're not sure, we'll often find that the inside portion of the top Eyelid is where most of the prominent differences in our shape occur. Some people's eyes, he are very straight, others a very gradual and they're curvature. So this is where most of the change is going to happen. So a nice bright orange color here for Apple lead. One more thing that we do have to develop with our eyelids is that there is thickness here. They're not just in strips that leaf flush up against the eyeball. There's a little bit of a step down that occurs before it reaches the eyeball. So there's a top plane for our bottom-line. And I bought them applying for at top lid. Now because the light is coming from above, it means this bottom plane for our Apple lead is going to be in shadow. Now one thing I nearly forgot to mention is that we actually do get a little bit of the roundness of the eyeball still peeking through. So whilst the majority of the eyeball itself is covered by all these layers, its border is still going to be visible where T Duct is, which is also going to help us when we start to add form to the bowl itself, which we'll cover shortly. So drafting out the shape of the top plane or lower eyelid, this area stays pretty random for the most part, it can get a little straighter and square up as it approaches the outer corner. And because this is the top plane, that means it's gonna be capturing a lot of light that's coming from above. Meaning the lower part of our Eyelid is going to be in shadow. Now you might be saying to yourself, well, do I really need to know about these smallest subtle applying changes? If I'm a cartoonist or if I'm doing comic book characters, I'm not doing oil paintings here. Do I really need to know this information? And to that I would say that understanding about these subtle applying changes is going to make your eyes look better regardless of the style of illustration you'll doing. Yes, Comic book eyes are most simplified. A good comic book artist, we'll use variations in line thickness or placement of the lashes to indicate this subtlety. The eyelashes actually grow from these small applying. So if we draw it in the right way, it really helps to reinforce the ideas that there's foam and thickness to these areas, even in most simplified Comic book or animated forms. So if you're looking to work with more 2-dimensional illustrations like comic books, manga, cartoons, whatever it might be, study what the pros are doing in those industries with a character's eyes and I shapes, you're more than likely going to find the same principles seen in this cost being applied. They're also more or less done here. And I might just go over these edges with some dark line work just to define things a little bit better, make it nice and clear. So just to recap what's happened with eyelids, we mapped out our border shape to be a bit like a lemon or a tilted box ID. We said that are APA eyelids sits above our lower lid and merges anda to the Temporal Arch. And we also mentioned that we get a little bit of the spherical border of our Eyeball peeking through near at T Duct. So we've really only got one thing lifted do now. And that's just to fill up this big empty space that we've got sitting here. So let's finish off these eyelids and then we'll move on to some Rendering, all the eyeball, the iris, and some Highlights 7. Iris Rendering and Highlights: All right, onto the finish line. Now, this part of the lesson is going to be a little bit more about Rendering the eye, because we've already got an understanding of the structure surrounding it. And we'll also look just a bit odd if we don't finish it all off. But starting first with the Watson the eyes. Well, actually all that white. Now this is a big era that many of his mic, because relative to all the areas surrounding it, both can look quite white, but it's far more of a reddish grayed-out area here. The other error that we make is that we forget that this form across this bowl. So we are going to be getting this transition from light to shadow across the eye. Most of the time, those darker areas are going to form in the corners. We're also going to get some noticeable shadow forming a random leads to. So we have to remember that despite all these layers of bone and flesh, we've still got this spherical object lying underneath and it's going to have to behave like any other spherical object will. So now I'll just do a few adjustments, I think, here to the iris as we go along. Oh, nearly forgot this one more shot that we have to pining. And that's the cost shadow shape that forms from our Apple lead. If there is one part about construction that really helps to make things pop and look just that little bit more believable. It's going to be these cast shadows. So I'm making it a lot darker than the underpinning of our top lead. I might even make that and applying a little bit lighter as we go along, just to make it stand out just that little bit more. The core shadow can come down quite low, but that will depend on the lighting. So now I'm just going to render the T Duct. The two Duct is mostly a flattened, ball-shaped, so not super complicated. It gets quite pink in this area. So I haven't quite got the right color for this. It also gets quite glossy here to, for obvious reasons and we'll tackle that glossiness in a few moments. The other thing we want to ensure is that the top and bottom plains of eyelids are wrapping around into that T Duct. I'm just going to fix these up a little bit here and ensure that they are really wrapping around to the surfaces and into these corners. And a little bit of shading these bottom lid as it reaches this at a corner is really going to help to sell the illusion that the APA lead is overlapping it. So I think this will do us for the Touch Ups and these corners and these leads. And we'll move on to our final area and we'll finish off Rendering the iris. And I'll just fill it in with a rather neutral brown color. Not going to worry too much about specific eye colors in this lesson will also shrink it down a little bit too, as it's a little bit too big at the moment. So this should take up roughly about 50% of the Spice. Now with the r's, we want to pay attention to how much of it is visible most of the time, the top portion of the Rs is going to be ever-so-slightly covered. The bottom edge of the iris, how about is always going to be visible and is usually always gonna be touching the edge of the bottom lid. We're also going to get a very noticeable dark and hard border that surrounds the R is the dark of the eyes are the less noticeable it is. But it's really the only natural outline that we have now body and that's because the iris, it has no form. It's just a flat shape as is our pupil. It's also a flat disc that stays black. We do get aggravation of shadow across the iris. It starts a lot darker near the appellant and then gradually shifts to be a lighter and more vibrant color. The further we go down to lift that color and vibrancy up and bring for the realism, we want to use some very random strokes and swirls. And this is because the iris has a very textured look to it. Almost looking like there are streaks radiating out from the center, almost like a starburst effect as it work. And everyone's, ours patents are going to be a little bit different site. Think of it a bit like a fingerprint, I suppose. If you're doing close-ups of the eyes, take note of the patents that are forming here because that will help to elevate your work. And it also gives you eyes that really cool, glossy Luca as well. So we're almost done. There's one final thing we have to do, and it's the thing that we usually leave to lost and that's the Highlight. The Highlight exist because the eye is very wet, so it's a very glossy surface similar to a billiard ball or a snowball, some type of rounded surface like that. But there's also some wetness that accumulates at the bases well, at the base of the bottom lid. And we can get some wetness also accumulating in the T Duct. These little tiny things are just going to elevate our eyes to the next level. So that's the overall construction of our eyes. Let's move on to the assignment 8. Assignment: The assignment for this lesson is to use the information presented and construct your own eye illustration here you can either try to duplicate what you've seen or simply take what you've learned and incorporate it into your own eye illustration. If you want some additional references I've included with the class notes a series of 3D models for you to use, both simplified and complex models. So use those as a guide to help you out in your eye construction. Or of course, seek out your own image references to study from. So I'll leave you with that to complete. Good luck and thanks for watching.