How To Draw Heads & Faces: Drawing The Eye

1. Introduction: It's Clayton in this class, you're going to learn how to draw the human eye from the front side and three-quarter views, as well as the top-down and bottom-up perspectives. Again, Let's get straight into it. 2. Standard Eye Views: We'll start by drawing the front view of the eye. Since that's one of the most common things that everybody wants to learn how to draw when they first pick up a pencil, there's probably one of the first things I ever drew was an eye from the front view. So let's just go ahead and do that. Now let me explain how I like to think about the shape of the eye from this particular view. If you take it just a basic block like this. So you could call it a rectangular prism if you like. It's not the most perfect rectangular prism I've ever drawn. But you take that and then all you do is you push it on its side in order to create this shape. Now the name of this shape and it does have an actual name escapes me right now. But that's basically what we're working with as far as the standard shape for the eye goes. And so when you can think about it in that way, it's not so hard to then go ahead and make a few tweaks and a few adjustments to that shape in order to capture. Finished I. Okay, so this is the opening of the eye. Of course, there's some anatomy you can add in around that. There's the pupil and the iris and of course, the eyebrows on top of that. But in terms of keeping it as simple as we possibly can to start out with. This is really the way in which I interpret the shape of the eye itself. So with that said, what you can do when it comes to practicing the eye is you can start out just practicing this shape. Get a feel for it, get used to it. Try to become as comfortable as you possibly can with it. And then once you've got an idea as to what this shape consists of, going ahead and start to actually sculpted out a little bit and create a finished, a more finished representation of how the eye actually looks. Now as far as the construction method goes, we're finished front view representation of the eye. Here are the steps that I take. I usually start out with the top of the eye. And the top of the eye can be laid in on any number of angles. Let's just say that we started off with a somewhat of a downward slant. It's very, very subtle. It's not just necessarily straight at chlorous. You'll notice that there is a very slight bend to this line. It's not, again, it's not completely straight. And really you don't want to keep any of your lines completely straight throughout the human face. You is when I have a little bit of character to them. But I started out with the top of the eye. And then from there, I'll draw out the NRI. And this inner thigh is going to lead in the tear duct. Okay. So I hook it off there at the bottom. Once I've done that, I take my attention to the outside of the eye. And I bring the contour down to about the level with the tear duct. And then I'll change the trajectory of the contour, dipping it further down. Ever so slightly. And I'm not I mean, you can, depending on what the facial expression is going to be of your character, you could certainly widen the eye, you could narrow the eyes. This is probably what we're drawing here is a resting I. Is there a default idol I that's not expressing anything. And then that also is going to lead into the tear duct. Okay. So you can see that I've added a little bit of shape here to the bottom of the eye. Now sometimes I'll be looking at the eye I've drawn and I'll go, Well, you know what? I think that the back of the eye here could come in a little bit further and I'll give it more of a slanted appearance. I'll increase the angle that I've drawn it on in order to capture the right shape that I'm looking for. So when you're watching the re-recording of this lesson, go ahead and pay attention to each one of those steps and practice it over and over again. Toroidal, the top of the eye, the inner thigh, the back of the eye, and then lead that round to the bottom of the eye. Once we've done that. We can then go ahead and start to add in the surrounding elements that will bring the eye through to completion. But this is really the main part. So let's now lay in the eyelashes. So with the eyelashes, I like to keep them as a very basic shapes. So if we go up here to the first example, usually I'll, I'll draw them in something like this. I'll draw an eyelash in around the top of the eye, an eyelash in around the back of the eye, and then another one around the bottom of the eye. And depending on whether or not I'm drawing a male character or a female character, or a character that she's wearing makeup or not wearing makeup. In the end, that'll determine how much you give the eyelashes of the eyes that you're drawing. So here we're not going to get too crazy. I'm going to just draw in some water eyelashes. Just to show you the example. So I establish the overall shape first. We want to try to capture a nice clean shape for our eyelashes to start with. And then I'll add in the first set around the top, the second set around the sides of the eye. And you can see that this is before they may have sharp corners at the edges of these eyelashes. Have a bend to them. Then once I've added in the eyelashes around the side of the eye, I'll take my attention to the bottom and add in the final set around the base, leading that up into the tear duct. Once I've done that, you might be asking yourself, well, what about the NRI? Do we add any any thickness at least to the line there and yes, we do. And are usually I'll go ahead and I'll add just a little. You could think of it as a line weight. And then once we've done that, we can go ahead and actually start filling in that eyelash shape. Increase the size of my brush here. In order to do that a little faster, we just want to carefully fill in that shape that we've outlined. In order to complete the eyelashes. I'll do that around the top. We'll do it around the back of the eye as well. While the outer i depends on what you want to label it as. Then finally, we'll fill in the bottom eyelash. Now if you want, you can just shade that in quickly. If you're working with a sharp pencil. Once again, you're going to have characters that have either thicker or very little eyelashes. But really this extravagance. So just keep that in mind. You can tweak these different assets that you apply to the facial features in a multitude of varying directions. All of this is customizable, which is what's really great about it. You just thicken up that initial shape if you want to get thicker eyelashes and if you don't, then you'll, you'll make it thinner. But shape is really everything when it comes to drawing not only the head, but also the facial features on the head. Now, this is looking maybe a little bit too graphic. And so what we can do in order to introduce some more, more of a natural visual appeal to these eyelashes is we can actually go ahead and split some off from the main shape. What this will do as an effect is made them look a little brush here, like they're actually made of hair. Rather than just a flat shape that's surrounding the opening of the eye. And usually the points at which I add in these offshoots of eyelash around the top of the eye, in-between the Top eyelash shape and the side eyelash shape. And then in-between the side one and also the bottom one. You can see that that's all that's really required. Now what you don't want to do is start adding in eyelashes that a single lines. That's probably not going to work out very well and it just won't look good when haven't finished professional quality to it. So always define your eyelashes with a shape first. Once we've gone ahead and placed in the eyelashes, what we can start doing is establishing the surrounding anatomy of the eye. Usually what that's going to consist of is the crease in the upper region of the eye, where the top eyelid folds in underneath the eye socket. And in order to depict that, what I'll usually do is lay in a line right here, where the inner eye meets the the brow as it leads into the nose. Then I'll place an another line that intersects that at the top. And then runs back in toward the back of the eye or the outer, IF YOU will. You can add line weights to the contours that you're drawing your eye with. Defining your eye in order to once again get that professional, that professional finished quality, a professional look to it, makes it look really polished. I'm just going to move this i example down because we're going to add some iron browsing on top. Once we've drawn out this top eyelid region, we can also go ahead and add in some very subtle render lines there just to thicken up the form. We can also add in an indication of the bottom edge of the eye socket. And usually I'll just add in a few lines there, like so in order to indicate that it could be a single line, it could be multiple lines like I've just placed in. Just something to indicate the form the anatomy around that area. Now of course, this eye is missing a vital component right now. It's missing the two vital components is missing the pupil and it's missing the iris as well. So let's go ahead and draw that in. Top eyelid actually risks over the iris and the pupil. Which means usually, rather than drawing it right in the middle, you're going to be drawing the iris somewhat sitting underneath the top of the eye. So I'll usually scan chat, circular shape for the iris. And you'll notice that it's not completely circular. Again, anything I'm drawing, I want to try to add some character to it. So I'll mess around with the shape somewhat. Sometimes I'll squash it, sometimes I'll straighten up the lines at certain points and our rounded object, or a rounded elements such as the iris here. And that just adds additional visual interests to what it is you're drawing. Next up, we'll lay in the pupil. Now remember that the pupil can dilate. And so there's gonna be times where it's a little pinpoint. There's going to be occasions where it actually widens when the character is scared or break down. Keep that in mind. That once again, this is another customizable element, the pupil that can allow you to produce certain emotions or omit certain emotions within your character and show them what they're feeling to the audience. Cool. So now that we've gone ahead and place down the pupil and the iris, Let's actually lay in the eyebrow. Now, just like with the eye, the eyebrow can be simplified down into a very basic shape. And this is the shape that I usually like to use. It, it only has four sides as well. So let's go up the top here and do an example of that. The eyebrow consists of a bottom edge, an inner edge, just like the eye, top edge, and then an outer edge. So it's, again, it's not unlike the eye. Now what I will do is I'll go ahead and I actually tweak that shaped, somewhat old-fashioned of sculpted out a little bit to something that looks more like this. So I'll add a downward bend to that shape. And I'll curve out the inner eyebrow somewhat. Then add an additional point to the base of the eyebrow. Right in the middle of its lower edge. Then I'll scoop the contour backup into the outer edge of the eye, eyebrow. And then folded back down. Looking at around the underlying form that it sits upon. Once I've got that shape established, which is really the key to capturing a vivid looking cool eyebrow. You'll then want to do is fill it in with some rendering. So I'm going to just demonstrate that real quickly for you here. What that'll look like is very thin, very subtle lines that flow through the eyebrow shape in the direction that the hair should be moving in, that the hair is combed in. And what you'll notice is that I'm grouping some of these. You could think of them as eyebrow strands or eyebrow clumps together. While others, I'm spreading apart, giving a lot of distance between. The reason for that is, here's what you want to avoid. You do not want to draw these eyebrows strands like this, because otherwise that's going to lead to a very patently look which you want to avoid when it comes to more natural or organic looking subject matter, such as hair or eyebrow for. So that's the same deal here. Once again, what we can do if we want to practice our eyebrows is we can start out with that basic shape. And then slowly but surely construct a more refined look for the eyebrow. And what this rendering does is it just, it makes it look less like the eyebrow has just been painted or stuck onto your character's face. You can also go ahead sometimes if you want to, and you can split off eyebrows strand and in the inner eyebrow. Again, just to give it that hair-like appearance, similar to what we did with the eyelashes. So now let's apply an actual eyebrow to our example that we've done up here. Right now. The eyebrow, depending on whether or not you're drawing a male or female character, feminine or masculine character. Usually male characters will tend to have brushy, a thicker, lower suiting eyebrows. So keep that in mind. Now, it seems as though we're drawing up more of a feminine I here, which they're really great for demonstrating eyelashes and that kind of thing. And so we'll keep our eyebrow more feminine as well. And for them, what you want to keep in mind is that they're going to sit a little higher above the eye and they'll typically be thinner, less brushy at lists heavy looking. So I'm going to go ahead and very lightly draw out the eyebrow shape. To begin with, starting with the bottom edge. Once I've got the base established, I'll draw in the inner eyebrow wall at a curve to the top of it. And then lay in the outer eyebrow. And you can see how very lightly I've drawn that it might even be difficult for you to see there. But the reason that I keep it so light is just in case I mess up along the way. I like to trial test what I'm drawing first before I go ahead and do exactly what I'm about to do. Set it in stone with a heavier outline. I would highly recommend that you do the same thing. Start out very light. And then once you're happy with what you're seeing on the page, go over the top of it, lay in that final contour. Place down the line weights. Line weights, by the way, if you're wondering it just varying levels of thickness within the line that you're placing down onto the page. So you can see here that well, we can see what will happen with this eyebrow is I'll give the outer shape a much darker outline then I will the interior rendering. That would be an example of how to use line weights. You could also go ahead and thicken up your lines at the corners where they meet. Other edges. Okay, so I'm very happy with that shape. And once again, I can't emphasize this enough. Focus on capturing a solid, good-looking shape for whatever it is you're drawing. Alright, next up, let's place in the eyebrow for rendering. You can see I'm adding a bit of a curve to each one of these lines as well. Once again, that'll give us a more natural look. I am somewhat clumping these eyebrows strands together. Sometimes I'm doubling them up, sometimes I'm leaving them as a single line. Once again, you want to create some randomization within the rendering of hair especially. And it's quite difficult to do for us. It's surprisingly difficult because as human beings we habitually try to look for patterns and also produce them. So you want to be consciously avoiding that when you're laying in eyebrow hair or anything else that you want to have look more natural because nature is, even though there's some order to it, it's fairly random. At least it can seem random on the surface. Okay? Once again, you'll notice that the direction of these lines as I draw them into the eyebrow shape or being combed back to establish a sense of flow within the movement of these eyebrow hairs. So think of that. Think about combing back the hair in the direction that you want those eyebrows to flow. Alright, once we've done that, there's also some additional little points of rendering that we can use to define some of the surrounding anatomy of the brow itself. Usually what you'll find is that the upper brow bone will lead down into the top of the nose. And so in order to indicate that transition, what I like to do is just lay in a very subtle line to indicate it. We can also add in some additional doubled up line rendering around the NRI there. Then another line to describe the fold of the bottom eyelid. And other than that, this is what you could certainly call a finished representation of the human eye. Step-by-step. So let's go ahead and move straight on to the side of the eye. The eye also starts out with a very basic shape. So it's more, less of a rectangle and more of a triangle that has been pushed onto its side. You could also think of it like a piece of pie. So it's got a top edge and bottom edge. And then the front of the eye. And it really doesn't have to be any more complicated than that. Of course, when it comes to drawing some eyelashes onto the eye. Well, we're going to notice that they actually fan out toward the front. So we get a good sense of the direction of these eyelash planes. And the same thing will occur on the bottom as well. Notice that the eyelashes actually push forward. And the idea is that the reason that nature is designed them in this way is so that if it's raining or if there's sand blowing around these eyelashes, we'll catch that and stop it from going into our eyes. Same with the actual eyebrow. That's what it's designed for. Can't tell you how many times I've bumped my head, hit my brow instead of my eye, thankfully. Alright, cool. So let's go ahead and draw a finished representation of the eyes side view. I'll start out. With just that really basic shape, beginning with the top edge and then the bottom edge. And you'll notice that there's more of an angle applied to the bottom edge of the eye. In this view. The reason for that is because the top of the eye is somewhat flattens out a little bit. Usually, again, at risks over the top of the eye that could be due to gravity, I'm not sure. But ultimately the bottom eyelid will always sit lower than the top eyelid. Okay, cool. Once we got that basic shape established, we can then go ahead and we'll just resize that a little bigger so we can see it. We can then go ahead and lay in the eyelashes. So just as before, we're going to start by defining the shape of the eyelashes. Burning them out at the front. And the back will also do the same thing. Well, So fan them out a little bit, but just not as much. And we'll do the same thing around the bottom of the eye, bending them out front and pulling them back in. Once we've done that, we can in our eyelashes. And you'll notice that what happens when you apply eyelashes to the eyes of your characters is that its eyes look much bigger. This is the same effect that occurs in real life. When you wear mascara or your wire, thicker eyelashes, more attention is drawn to them at essentially frames the opening of the eye and draws more attention to that area of your face. And that's a good thing because a lot of expression comes through the eyes. You can tell a lot about a person. Oftentimes how they're thinking, what they're feeling. Just by looking at some of the, the cues that their eyes are giving off. So it makes poker players so dangerous, they're very good at being able to read what, you know, what people are, what emotional state people are in, just by looking at the expressions on their face. But micro-expressions, but i is give off a lot of them. Because when you think about it, there's that big ring of muscle that sits around the eye. It's capable of a wide range of movement, both subtle and also quite prominent. Once we filled in our eyelashes, we can then go ahead and we can place in some off-shoots of eyelash hair in order to make them look like they're actually made of here, rather than just a solid shape. You can experiment with different shapes for your eyelashes. By all means you can experiment with different shapes. Be your eyes as well. Next up, what we're going to do is draw in the iris and the pupil. The iris and the pupil from the side view. This is actually very interesting. So we'll start off by laying in the iris. It's going to sit a little bit underneath the top eyelid just as before. The pupil is really where we see a major difference. Now, most people think just intuitively that the pupil is going to sit right at the front of the eye, but that's actually not the case. The pupil actually sits back inside the iris. The iris, He's actually a cup. Now, we're not necessarily going to draw it in depicted here, but there's also a membrane that sits over the top of the iris and protects it on through drawn in the iris and the pupil. Let's now start to lay in some of the surrounding anatomy. Now we can draw a contour upward from the top of the eye and into the upper region, where we'll fold the top eyelid up underneath. The upper edge of the eye socket. It's going to look a little bit like that. Just kinda tweak the shape of my iris here for a moment. The people up. There we go. Oh, you can also go ahead and add in our reflection to your iris as well. If you'd like to make the eye look a little more wet, a little more shiny. Because certainly, if you've ever had dry eye as before, It's not a pleasant feelings, so they I certainly do. It's a great way to describe the material of the eyes, almost how light reflects off of them. Can add that to both of your eyes. I usually just draw out a little bit of a a shape that reflection. And then I erase or I fill in on top of that the iris just to get rid of that contour underneath it. Okay, wonderful. Once we've got the side of the I figured out, Let's talk about the eyebrow and how that looks to us when presented in the profile view. You can also use a very simple shape for it as well. And the way in which I interpret it on a basic level is something that looks like this. We've got a front for the eyebrow, we've got the top, we've got the bottom and then it hooks background. Once again. Following the shape of the underlying anatomy, the underlying skull. Okay, so that's the kind of shape that we'll be going for here when we draw in our eyebrow. And in fact, if you wanted to, you could indicate where the front of the brow is and where it joins onto the nose. So I'll lightly lay that in because it'll it'll give us a bit of an indication as to where to place that eyebrow. Okay, great. So we'll start at the front of the brow, laying in the inner edge of our eyebrow. And then we'll pull it back, defining the lower edge. And I am trying to think about the way in which the eyebrow will conform to the general geometry of this area of the face because that's exactly what it does. Well, then go ahead and placing the top edge of the eyebrow. Again, I'm very lightly drawing this out. Then I'll hook it back around. Like so. In fact, probably haven't taken back far enough here, so I'm going to do exactly that. So I'll pull it back even further here. Probably drawn this side view of the eye a little larger than our front view actually. So I'm going to shrink it down a bit, giving us more room on the page. Okay, so now let's try that again. Hook the back of the eyebrow around. I think that's looking great. I'm just going to make a few tweaks here. So you can see that I'm simply drawing in another line to thicken up the inner edge of the eyebrow. And I'll erase the lighter one that I drew in before. I think that looks pretty good. So now I'll go over the top of that eyebrow shape, define it with some more clarity. Thicker outline. Making it nice and vivid before we start to add in that rendering. And each step of the process that I'm going through here, you can execute repeatedly in order to really get a handle on it. And try to perfect every step. If you have trouble drawing eyes. Repetition is the key. If you have trouble drawing anything, repeat each one of those steps separately until you really get it. Okay, awesome. So now we'll lay in those eyebrow strands now going to be flowing in somewhat of a different direction this time around. So instead of curving back toward the eye, there are toward the outer edge of the eye. They're going to be flowing inward toward the front of the eyebrow. Pretty much in the opposite direction. Now this might not be entirely accurate, but it does look good when you draw it down onto the page. That's where one of the everlasting clashes comic artists have to face starts to come into play. Or any artists really that wants to go for a more stylized, stylized approach with their arm weighing up the decision that you make between what looks good on the page and what is actually true digital reality. And there's a lot of decisions that you may have to make later on down the track that wouldn't work in real life. But we're look really cool on the page. So always go for coolness. Always go for the visual experience of the audience over realism because sometimes real is just kinda boring to look at. It's bland at people engage with movies and comic books and video games because they want to escape from reality. So it's good to give them that kind of experience. Alright, so that's our side view representation of the eye completed. Move that up here. And now let's tackle the three-quarter view of the eyes. The three-quarter view is, well, we're going to be drawing up two different eyes here. And so what we need to consider is the foreshortening That's going to be applied to them as we represent the eyes in 3D, essentially in the three-quarter view. This is what happens. We take this basic shape that we learned about to begin with. And now we're going to be applying perspective to it. So over to the right here, what I'll do is I'll draw around a line that represents the level at which our eyes see it on the face. Normally if we're looking at the head straight on, we would see the eyes having an equal width of space between them. And they would also be of equal widths as well. However, when we turn the head to observe it, the three-quarter view, what we end up with is a skewed representation of those measurements. So the distance between the eyes will be smaller than the width of the eye that is closest to us. And the fire, I will be smaller than both of those. Alright, so I'm going to lay in the basic shape of the eye is first up over here. So that'll be the eye that's closest to us. The distance between that ion, the fluoride. Then we've got the far right, which is of course going to have a less width now that it's slightly turned away from us. And what you'll also notice is due to the foreshortening of this basic shape. What we end up getting is a somewhat some distortion that happens within it. We see that in fact there's a larger amount of space on the inner thigh. When we're looking at the far side of the eye. And a larger amount of space on the add array when we're looking at one, the one that is closest to us. Okay, so it's important to keep that in mind when it comes to drawing the eyes on the three-quarter view, right? They're going to change both of them. So we'll start out with the eye that is closest to us. And I'm going to run through these examples a little bit faster now that we've had an introduction into the front and side views of the eye. You'll be fairly familiar with the process at this point. We're going to start out with the top of the eye. Again, lightly sketching it in there. The inner array that is going to run down from the top of that upper edge. Then the back of the eye, which will flow down into the base of the eye. I'm going to add a greater angle to the back of the eye there. Erase it away. I'm going to focus on first up is just the shapes that we want to be looking at. When we're observing the eye on this angle. Are both the eyes on this angle. Now the eye that's closest to us, it really doesn't change too much. There's a slight amount of distortion that's applied to it, but not a whole lot. However, when we're looking at the eye that is further away, that's where we do see quite a significant change ends up occurring. Alright, so again, we want roughly just short of an idea, since between the two, we're going to see a slight outline here. Where the nose leads into the brow. Then when we got the eye that's further away. I, that's further away isn't simply not going to have as much width applied to it as the eye that is closest to us. It's going to be smaller but not in terms of height, just in terms of width. And depending on how far away the head is rotated from us, these effects will be pushed further. Okay, So the far right will get narrower and narrower and narrower as will the eye that's closest to us for that matter. And in fact, it is somewhat narrow woman, when we're looking at it in the three-quarter view as opposed to front view where we see it's full width. So that's the basic shapes that we're dealing with when it comes to drawing the three-quarter view of the eye. And you can see that it's pretty much the same shape. It's just that now it's been tweaked, It's been morphed a little bit. Next up, what I'm going to do is draw in some of the surrounding anatomy even before we start to lay in the eyelashes here. At this point, we know pretty much what that consists of. Over here. We've we've mostly already done that for the far right. We've got the outline of the nose. Once we've gone ahead and drawn out eyes are eye-opening. We can then go in and add those eyelashes. And as you'll see, we're, we're pretty much executing the exact same steps over and over and over again for each of these examples. That gives us extra practice, of course, which is wonderful. But at the same time, it also makes the whole process so much easier for us. When you can go through the same series of steps over and over and over again. It means that you don't have to really guess your way through it anymore. You've got your technique down, you've got your method. Now we have to focus on is actually getting it to look good. The more brown brain power that you can dedicate to that particular task, the better. So now we'll fill in our eyelashes. On this side of the face. What do the same thing around the bottom eyelashes and around the top. And you can be clean cut with this. You can be a little rougher if that's the kind of style that you'd like to go for, that's completely fine too. Again, this is just a way in which I approach it. And sometimes I do get a little bit rough because I want a more natural look and less of a clean cut appearance. Yourself might even have multiple styles. I know I certainly do. I've got my more dark fantasy, really detailed look for my art. But then I've also got this is more clean cut appearance. Their ideas, maybe for a sci-fi comic or illustration. So different stars are going to work for different genres are better than others. Okay, great. So we've got our eyelashes now drawn in. We'll do the exact same thing on the other eye. Outlining them first. And you'll see that they're fanning out just a little bit more on the far side of the face. So really try to practice that eyelash shape. Once again, we've got very sharp corners, but the edges in-between them have a curve to them. And so what you get is this nice, smooth flowing sharpness to the shape. Keep your corners up, but keep your edges soft. Alright, we'll fill those into. We're really giving our attention, our full attention to the eye as at this point in time. And we'll do the same thing for all the facial features so that we can get a real proper handle on them. As I've said before, if you really want to get good at drawing eyes or any facial feature for that matter. Spend a good few days doing these exercises repeatedly. Don't just draw the eyes from a three-quarter view once. Jordan, from the three-quarter view over and over and over again, fill up an entire page just with three-quarter view eyes. And you'll get really, really good at it at drawing them from that angle. The other angles of the eye, of course, which we'll go over and after this, a little bit more difficult. But now that we've got an understanding of what the basic shape of the eye consists of. It should be much easier to understand. That's why figuring out how to draw the standard views of anything, the eyes, the nose, the entire head. It can really help us out when it comes to those more dynamic points of view. So to complete our eyelashes on our three-quarter view eyes, I'm going to add in you offshoots of eyelash hair. Thicken up the inner eye line. Just a little to indicate that maybe there is some mascara following around the shape of the eye. Then I'll do the exact same thing on the opposite side of the face. Mirroring all the steps that I'm taking here. In reality, of course it doesn't, it's not necessarily going to take you this long to actually draw it out. And I initially maybe, but as I said, we're taking our time to go through each step here. And the idea is that you take your time at first, then as you get more comfortable you, and you'll inevitably get faster at this. And it won't be so taxing. You find it easier and there'll be a total breeze. Eventually with enough practice. Okay, cool. So once we've got the eyes drawn in there, while the eye-opening and the eyelashes surrounding them. Let's place in the iris and the pupil. I'm roughly going to outline the IRS to begin with. You'll notice that I actually don't link the iris up at the base. I leave it completely open. The colorist will do their thing if they decide to color it and fill it in. But broken lines can be quite handy when it comes to capturing, once again, that polished professional looking presentation at the end. This is why I say, leave the contours. The outline for your lips open. Once in awhile, break them up. You don't necessarily always have to make it a complete outline. And it just adds so much more of a stylized finished to your work. So we've got the reflection drawn in there. Do the same thing on the opposite eye and notice what happens here. What you'll see is that the width of the iris is also going to become a little bit squashed because of the additional level of foreshortening that's been applied to it here. Okay. So not only is it the shape of the eye itself that ends up becoming discord distorted? It's actually the interior shapes that we place within it for the iris and the pupil that also have that same effect applied to them. We'll go ahead and we'll lay in the reflection of the eye. This one as well. Okay, Great. And usually what I'll also do is to really polish this up, is I'll thicken up the top of the outline that I've established for the iris. So okay, Great. So that's our three-quarter view IS pretty much completed. Let's go ahead and give them some eyebrows. And what we're going to see is some similar effects actually take place here. We're going to be foreshortening the eyebrows themselves. Alright, now in order to find the placement of the eyebrows and the three-quarter view, I know that there's this underside plane of the brow that I need to consider. And so what I'll typically do is I'll draw a diagonal line upward through where I would like the eyebrows to sit. And that'll allow me to find where the front of the eyebrows begin. Figured that out. Of course I can go ahead and just erase that line, but it's a handy little trick if you're ever finding that the three-quarter views of your head simply seem to have eyebrows that aren't positioned quiet right? Now just as before, I'm going to start out by outlining the shape that I want to go with all the eyebrows, drawing it this larger scale, by the way, individual facial feature. I don't know if it's just me, but you might also find it just that little bit more challenging. Because you don't get that overall look at exactly how everything is coming together. So we will hook the back of the eyebrow around the eye. What you'll notice is this back section of the eyebrow is going to be more stretched out. 3. Dynamic Eye Views: Now let's jump into the more dynamic views of the eye. This is where things are going to get a little bit more interesting, but we've got our basic shape down. Let me show you how I would actually go about using this or this. I shade them in drawing it in the way that I would actually draw it. Because I'm actually, I'm a little bit looser when it comes to my artwork. And this is how I would start. So let's say that we're drawing the eye from the top down view. So I actually keep it very, very scribbly. And the reason that I do that is I'm, I'm sculpting as I go. And these lines here, they did directional lines that I'm laying in. But the basically providing the pathway for me to follow to actually draw the eye out. Now, this is going to be an I, which is sitting on the side of the face which is further away from us if we're drawing it in the top-down position. So go ahead and just so you could even take the same approach if you wanted to, you could keep it very loose in the beginning. As long as at the end you're able to lay in a more defined and refined outline for your eye. Once you've finished taking this approach. I'll even do the same thing with the eyelashes. I'll keep it very, very loose, very scribbly in the beginning, until I like what I'm seeing on the page. So this is all about, you know, trial and error. To begin with. It doesn't always have to be neat. I like to keep it fairly clean when we're going over the main views, especially just so that you've got a solid idea of what we're working with because this can be, it can be a little bit hard to see in a little bit hard to tell what's going on. But what I want to describe here is the top-down view of the eye and arthro drawn it out for you. I'm actually going to explain what's going on, skipped over that step. But it has this shape to it. Essentially just as before, it's made up of a top edge and inner edge, and a bottom edge as well that somewhat connects onto curves onto the outside edge. But you can see that once we've scribble this down is basic shape. We can go ahead and go over the top of it and refine what we've got there. So it really depends on what approach you like to take most used someone who enjoys working rough in the beginning and then hones everything in two more finished illustration. At the end. I tend to be that particular artist. However, some people, they like to go ahead and take a very calculative approach, keep everything extremely clean. And that works just as well. It ultimately depends what kind of experience you enjoy the most is if you don't enjoy the method that you're undertaking that you're executing every time you draw it. Well, you're probably not going to stick with drawing for a very long time. So that's the basic shape for the fast side eye, the top-down position. And what you'll notice is that the eye, the eye lids are somewhat following the shape of the eyeball. So here's what's happening. I'm going to draw out a little example down below here. We look at the eyeball. Say this is our eyeball that's sitting inside the skull. By sitting inside the skull, I mean, it's, it's actually sitting inside the eye socket. So I'll draw the eye socket in around this eyeball. Alright? So the eyeball sits inside the eye socket. Then I'll get out my red pen here so it's easier to see. What's going to happen is our eye-opening is going to follow the curve of the eyeball because the eyelids actually wrap around it. Okay. So that's why we get this curve happening here at the base of the eye that's wrapping around the eyeball. And if we're looking at the eye from above, same kind of deal. I'll do another example where we're looking at the eye from that, sorry, we were looking at the eye from below. Alright, another eyeball here. So if we're looking up at the I, I still going to be sitting in the eye socket. Little windows at the high peaks out of and the eyelids that sit around it. Once again going to wrap around that eyeball shape. And of course we're still using the basic shape that we learned about. When we were drawing the eye from the front and the side views, three-quarter view as well. But now that shape is being wrapped around the spherical form of the eyeball. So this is a good way to understand it. Always try to capture this curve here. Because that will make your eyes look more 3D. It'll indicate that indeed, the eye lids are wrapping around that ball, which is, which is what's happening, right? So hopefully that makes more sense. Now, the other thing to keep in mind as well is that the eyeballs, they sit in alignment with one another when you're looking at the main perspective. So let's take the bottom-up view. Once again. We draw a line between each of our eyeballs sitting at the same level. Okay. So don't curve them around the face or anything like that. Make sure that they're sitting at the same height. Then when you go to lay in the eyelids, make sure that those eyelids are wrapping around the eyeball. And you'll notice that once again, depending on whether or not you're drawing a far side of the eye, the eye that's closest to it to you, it's going to have a different shape. Or the shape will morph in different ways rather, even though it's the same. Okay, So we'll continue on with our top-down representation of the eye. This going to go ahead and rather than Philly getting completely with black, I'm going to actually that'll probably be the fastest approach. So let's go ahead and do that. Try to keep inside the, the beautifully defined shape for the eyelashes that you've laid in as you fill them in. And if you go outside the lines just a little bit, then go back over the top and just smooth it out a bit. It really tried to polish up that line. There we go. We want a sharp shape. This should be smooth, right? There should be a very smooth contour. So no worldliness, right? Keep it very sharp and clean. If you find that you are traveling outside the lines a little bit too much, a little bit too often. Then go ahead and just shrink the size of your brush like I have here because the reason I did it is I was traveling outside the lines too often in that top top eyelash. So I've gone ahead and I've recalibrated my brush size. I was never very good at coloring in books. And go. Alright, we'll do the same thing with the bottom eyelash. Filling it in it by bit. Increase the size of my brush slightly more here so that I can do that faster. There we have it. Now we can add in our offshoots of eyelash and really take your time to nail this shape. I want to emphasize that again. Important thing. Again, you'll notice how rounded this transition is. There's a slight, there's a slight edge there. Then it rounds out into the bottom portion of the eye to really pay attention to that. In order to capture the shape that we're looking for here. With the eye. Once we've done that, go around the inner edge of the eye and it's outlined. Bring it through to completion sermon. We started out with very, very rough with this eye and then we've really gone ahead and cleaned it up. Next up. Let's place in the pupil and the iris. Lay in another eyelash. Shoot here. So we're looking down at the eye. It'll appear as though especially the eyes still looking at but us, that the IRS is sitting further underneath the top eyelid and see that I'm not making my iris completely round here. I'm actually squashing the shape a little, distorting it in order to get something that looks more interesting and dynamic. This is with the previous examples. N, because we're looking down at the eye, we're going to see the pupil moved back into the iris. So it'll actually be sitting at about here. Then I'll lay in a little bit of a reflection to give that wet look to the eye. Now if I'm looking at the eye and I think that this could be a little more diagonal. I'll go ahead and I'll make that tweak. The same thing with the eyelashes up there. I think that's looking pretty good. Next up, I'll place in some anatomy, some surrounding anatomy for the eye, as well as the eyebrow, which is going to be sitting fairly close to the top of the eye in the top-down representation. So this is width the eye. I'm actually going to draw that out pretty fast and I'm going to keep it rough along the way. If you are going to go for that Ralph approach, makes sure that you keep your lines very, very light. That's important because you're going to want to either go over the top of them with a darker outline or erase them completely. So I'm having the back of the eyebrow here hook around the eye. At the top. Again, I'm really going to focus on capturing a solid shape for the eyebrow. And I'm keeping my lines a little bit too rough there, so I'm going to be more careful and try to polish them up as much as possible. Alright, great. Now let's go ahead and place in those render lines. You can see that I've added a clump of rendering there. Now I'm going to separate it further apart is I'm leaving a decent amount of space between them here. I'm only going to add two here and then I'll move on to another section. Add in a few more. Now some people, they didn't bother adding any rendering to their eyebrows. And that's still works quite well. They just fill it in with some color and it's great. So it's really the decision that you can either make or not make depending on the look that you're after. Okay, cool. So that's a top-down representation of the eye. We could also add in the fold, the top eyelid as it sits underneath the eye socket there. It's looking pretty good. Great. That's the top-down view of the eye that is sitting further away from us and the far side of the head. Now let's take a look at how that would look if we were observing the eye that is closest to us. And it probably wouldn't look that much different, to be honest. Really depends on how far away the head is turning from us. We can see how the top of the eye, it actually starts to curve around that eyeball. And the bottom eyelid has an even greater curve as well. I'm going to sit the eyebrow right on top of that. I because we're looking down on it from above. So what's going to happen in effect is we will see the form slowly transition, the form of the brow slowly transition over the top of the eye. We've scribbled in our shape there will lay in some anatomy as well surrounding it. We could even say, well, we'll go ahead first and why actually lay in the eyelashes? Now, we're almost looking at the eye from an even higher vantage point here. So what I'm going to do is actually start to flip those eyelashes around. Because now we would be seeing them actually overlap on top of the eye here. Start seeing them fan out like so. So at a certain point the eyelashes won't be sitting above the top eyelid. Actually be overlapping the eye itself. That's when you have really high up. Or when the eye is almost closed, you'll see those eyelashes flipped down over the top of the eye. But in terms of the eyelash shape, I mean, you can describe it in any way as long as you're making it look as though these eyelashes are clumped together. Again, don't, don't separate them into individual strands. That simply won't give us the appeal that we're after. Okay, So now we'll outline eyelashes, clean up those very rough lines that we've laid down. You can see that I'm sculpting out the shape of the eye more and more at this point. I'm deviating away from that initial trapezoid shape. We would talking about before that we were learning about initially. But this is certainly still derive from it. Again, simplify it out. We're really dealing with is something that looks a little bit like this. Now it's wrapping around the eyeball. So let's go for a different approach. We'll just we'll just fill in these eyelashes once again, is to keep things consistent. Staying inside the lines, making sure we're maintaining that outside shape as much as possible. Sometimes it's not just learning the process. The process is actually quite easy to get a handle of. It's also just being able to recognize how these different facial features looking from these varying angles. Okay, how does the eye look from above? It's very difficult to know until you see it. Even though you might know how to describe. The shape of the eye. And you might know the basic way in which you establish the shape of the eyelashes and the eyebrow. Actually knowing what the eyelashes, the eyebrow and the eye itself look like from above or from below, is near impossible until you actually do it, until you actually see it. Because those reference points aren't just floating around inside your mind. You've actually gotta be able to see them in the first place, to be able to replicate them on the page. These examples that I'm doing up for you, even when no, We're going through the process of drawing them in. It seems a little bit repetitive. No doubt. You'll notice that all of them at different points of view that you can draw the eye from. That they all have their own challenges associated with them. Go ahead and draw in the iris and the pupil once again. The iris is going to be a little bit more ovular this time. Sitting right up against the top of the eye. Going to set it back as well. Because once again, the pupil is going to sit back inside the eye. We've got the reflection drawn in. You could add rendering to the IRS If you wanted to. Sometimes I do, sometimes I don't. Because the top of the eye is going to cost somewhat of a shadow over the iris and the pupil. You see might add in something like that. I'm keeping it fairly cleaned for most of these examples. However. Then of course we've got the eyebrow, which we would describe this notice define the shape of first. Once we've got it sketched in their experiment a little bit bigger out if, if working refer is going to help you out, help you get to the finished result you're looking for. Faster and easier than if you're keeping every single step precise and clean. I find that I don't do my best work with that approach. Usually I've gotta be very, very loose and I got to keep it rough in order to arrive at the ideal outcome. Just because I need room to explore, I need to, I need room to mess up. If I don't feel that way as I'm drawing. It, just it makes me less imaginative, less willing to experiment. And you may have actually found the same within your own art. My antidote to that is, no, keep it messy from the beginning, then you don't have to be afraid of keeping MSE of or messing up. You can always refine things and change them up later. Okay. Next we can go ahead and see in that crease between the underside of the brow and the top eyelid? At in a little bit of a fold underneath the eye. And that just about does that example. Move these eyes off to the side here? What I'd like to do now is an example of an eye that's turned even further away from us. Okay, So another Far Side, AI, but one that is a little bit narrower, that we're also going to be looking down upon k. So these are the views of the eye from above. Alright, so I'll keep this fairly rough to start out with. The grip on my stylus is also very loose at this point. If you're wanting to get those really light looking lines that are loose and not heavy. And I highly suggest you relax your hand around your ears, your pencil or stylus that you're using to draw with. So this is a very similar shape to the shape we went with for the initial IOE drew out. Except now it's much narrower and also you'll notice that the brow is obscuring. More of the eye here. It's sitting almost over the top of it. Well, it is sitting over the top of it, essentially, especially the front of it. So especially from the top-down position, this particular eye, the far-right, can look very angry. And of all the facial features, the eyes are probably the hardest to get right. Funnily enough because the fact that they're placed under so much scrutiny when people look at them. As I said before, they one of the most observed facial features and so people know what they look like. They're very, very familiar with them. And if those eyes look off in any way, it'll be easy to pick up, even for people who don't, aren't artists. Right now we're going to draw in these eyelashes. And once again, because we're looking down on the I here, they're going to be folding over the top of the actual eye-opening. Draw these eyelashes around the eye. Once again, most of these are very feminine looking eyes. Just because I want to, I want to push the eyelashes and how you would shape them in these examples. And feminine eyes are the perfect opportunity to be able to show you how to do that. If you were drawing male eyes, you would simply you'd either just give them a heavier outline around the opening of the eye or you would make, would still give them eyelashes, but you would make them somewhat smaller. You'd make them a lot smaller. In fact, these eyelashes can be cut to varying lengths. Even the eyelashes on this particular I are actually possibly larger than the eyelashes are drawn on the previous eyes. Okay, so I'm going to fill these in as we've done with the previous examples. Making sure we stay inside the lines and maintain that sharp looking shape. If you're doing this traditional, you may be using a texture at this point. To do this. Find tip, tip texter that allow you to fill it in in a much faster than a very fine tip pen. Usually unless you're drawing eyes this big, it won't take you so much time to fill in the eyelashes. It'll actually be a very quick process. You think about how large eyes usually are in a comic book panel, especially you, you're never going to draw them to this scale. But in these exercises, what it does is it allows you to be able to see what's going on in a higher resolution. So it's quite useful to begin large and then shrink things down later on. You'll only be able to ever draw so much detail within your facial features anyway. Depending on the amount of distance that you've got to work with. A cool stop. Let's draw in the pupil and the iris. Be sitting up underneath the eye. Quite a lot here. Actually, probably even more so than what I've drawn it in there. So we'll give that another shot and see that I'm really squashing that iris shape. They seem the pupil up nice and high back inside the iris. Then laying in that reflection. Next we'll attend to the eyebrow, same as before. And hopefully each of these examples are giving you an opportunity to be able to practice the different shapes that we use to construct the eyebrow with multiple times so that it can become familiar with it. Once that's done, we can start to lay in those INR eyebrow strands for the rendering. Giving the basic shape we've done up a hair-like appearance. I would encourage you to experiment with these elements, just see how you can tweak them, what you might be able to come up with. It's even different to what I'm showing you here. Look at your artistic references, your artistic inspirations, and ask yourself, well, hey, how do they describe eyebrows? Do they just use just a flat shape? What do they render it out? And then they do render it out. How do they render it out? What does that look like? We try to observe it and then imitated in your own art. Mix-and-match, of course, without serratus so that your work doesn't look exactly like this. That's the way you come up with your own unique style, your own unique take. Okay, cool. So we've got the top-down representations of the AI taking care of here. Now let's go ahead and draw up some examples of the eye where we're looking at it from below. Move this one over here. Okay, So thinking about little diagram from before where we were looking up at the eye and we've seen a wrapping around the spherical form of the eyeball. We're gonna be keeping that in mind as we establish the shape for the eye-opening in the bottom-up position. So again, we'll start out rough. Keeping your hand nice and loose as we work. And I'm giving the top eyelid this time a much greater arch. There's a lot more curvature being applied to it. As opposed to the top-down view of the eye, where we seen almost the opposite effect happening. The bottom of the eye in the bottom-up position is going to flatten out quite considerably. Once I've got the eye-opening drawn in, we can go ahead and get you in the eyelashes surrounding it. And from this point of view, what you'll notice is that the top set of eyelashes are actually going to extend it outward quiet a lot more, but there's still going to be wrapping around that arched trajectory of the top AI contour. So we'll add in some eyelashes around the side of the eye and around the base of the eye. But what's going to happen here in this example is that bottom set of eyelashes are really going to flatten out due to the perspective we're now observing the ion. Just going to tweak the shape of the eyelashes a little bit here. Finally, capture pleasing representation for them on this angle. So I'm sculpting. I sculpt the face today by sculpt the shape of the facial features as well. And I do so until it all looking right. That's the way I want it to look. And see. I got a few offshoots of eyelashes. I'm going to take a few of them out because I don't want the eyelashes still to brushy. Just enough to describe them as hair. Okay, I think that'll probably work quite well. Next up, we're going to draw in the eyebrows. Well, sketch them in loosely. We're going to want a little bit more room between the eyeball and the eyebrow in this instance because we've got that plane that sits above the, I. Start sketching out the shape of the eyebrow. Or we're sitting at much, much higher above the eye in this example. So again, the opposite effect to what we've seen in the top-down representation of the eye. Right? And you'll notice that a lot of the changes that you'll see in the bottom-up view as opposed to the top-down view or just the opposite of what you would see in the former. So we've got our basic shape sketched out for the eye and also the eyebrow. Next up what I'm going to do is actually sketch in some of the anatomy, the surrounding anatomy of the eye. Because here in this viewpoint, what we end up seeing is a better look at the top eyelid folding in underneath that eye socket. We really want to make sure that that's drawn in there. We can also go ahead and lay down a line that indicates the edge of the bottom of the eye socket to. Once we've got that all established in our underlying sketch, we can then go ahead and start to actually fill in those eyelashes. And what I'm going to do after I filled in the eyelashes is I'm going to go around the outside of them if needed, and refine the surrounding contour, the surrounding silhouette. Just to make sure that shape is nice and sharp and vivid. So I'll go around all of the eyelashes, placing in that nice thick black value. And another thing that eyelashes and sick, equally laid on I'm makeup gives you is additional contrast around the eyes, which inevitably, inevitably draw more attention to the face in that area, but also on top of it, add additional appeal. Contrast on the face seems to be appealing. It makes it more readable for people. So they can, they can understand it, makes it easier to look at the sand what they're seeing. It breaks up the face a little bit. And you could add contrast to anything. You'll get the same effect. By contrast, I just mean varying levels of tone and value that you might add in the face or other areas of the body. The hair is also another great place that you can add contrast. Usually you'll notice that the appeal of your heads actually increased dramatically just by adding in some hair, either black hair or red hair or blonde hair, or whatever color you like. It's going to be different from the values of the face, least in a large part. Great, So we've filled in the eyelashes. Now let's go ahead and send some off-shoots of eyelash hair to add some texture to the eyelashes. We can see that I've tried to keep that shape is sharp as possible. Next up, we'll place in the pupils and the iris. Now, I think we'll have the eye looking in the upward direction here, away from us. So we'll place the iris at the top. It can be a little bit intimidating actually to draw the iris looking directly down at the viewer, especially if the camera is placed below the face. Just because it's a very dominating point of view. Right? Anything that you're looking up at, it. On some level, it tells you that you're smaller than it. If you've got to look up at it. Could be a tall building, could be a character. But depending on the effect you're trying to achieve within your comic book and how you want the vibe of that character to come across. It's a nifty technique to use. Okay, great. So we've got our iris and we've got our people placed in. Next up. Let's thicken up at the outline of our eyebrow shape and render it out. Okay, So you can think of the initial stages when we're just loosely sketching in our drawing as the drafting stage. And now this stage would be the refinement stage. We're retracing our steps, going over the top of everything and just really trying to nail it, polish it up. We're thinking about the neatness of our lines at any point, it would be at this point. We might even get out or eraser and get rid of some of the under drawing if needed. Comic artist, David finch tends to do this. He will actually go over the top of his under drawing with a kneaded eraser and get rid of most of it, leaving just enough information there for him to be able to see what the existing underlying sketch consisted of so that he can go over the top of it with a more finished outline. Okay, Cool. So next up. And he, go ahead here and please see in those eyebrows strands you can see I'm using a very thin or very small brush size here in order to keep those lines nice and thin. And once again, trying to keep these eyebrow, eyebrow render lines as non-uniform as possible. Eyebrow render lines. It's a good tongue twister, at least for me. Right? There we go. Again, we can do that single offshoot of eyebrow for at the end of the eye there. And then finally, I'm simply going to darken up some of the surrounding contours that I've added into indicate the anatomy. The most part, we can simply leave this as a single outline. We can add in an additional second line, That's dinner to the main outline, which will just add that additional depths. Then that completes our first example of the bottom up representation of the eye. Let's do a final one now. This time we will turn the eye more on its side, maybe looking at the far side of the face. Okay. So this is actually a point of view for the I that I'm just realizing I'm quite unfamiliar with. So we'll see how I go here. Can't remember the last time I drew the far side of the eye from below it again, for me, really thinking about how the eye opening wraps around the eyeball helps me out a lot, even when I'm feeling unsure. And that's the great thing, is remembering these basic concepts. Even if you're a little non practiced in a certain point of view. For facial feature or even the head itself. It, it really just helps you to be able to go in and take a decent shot at it anyway and probably get it fairly correct looking. Alright, once I've got the eye shape drawn in there, you can see I've got a very large arch to the top of the eye. This point of view. And we'll draw out the eyelashes and they're going to be fanning out a little bit here in this point of view. The sides. So this would be the edge of the head here. The same as with the eyebrows. You really want to make sure that if you are going to be doing these eyelash offshoots, you're keeping the distance between them somewhat randomized, so don't make it an eat them at equal distance apart. If he can help it. That'll cause them to make that'll cause them to appear artificial or not quite natural, which is certainly not the look you want for eyelashes. Even though some of the time they may be glued on right? Now, sometimes. What will happen in this point of view is you'll actually get the bridges and noise obscuring a portion of the eye. So just to really hit home this example, that's exactly what I'm going to do. I'm going to place the bridges and noise over the eye just a little bit here. To show you that yes, the form of the noise can actually hide part of the eye. And indeed what will then happen is we'll see the eyebrow around the top from that point. So really I'm starting to test my lucky I'm pushing and I'm pulling this eyebrow shape and all different sorts of directions as I work. And I'm, I'm bending it to my will. Especially with this example, you can see a curve that Ryan in around the eye there. So that's what I mean. When I'm, when I'm drawing out these shapes, I know they look solid, like they can't be bent, bent in any way. But I certainly don't treat them like that. Bend these shapes to my will in order to get what I'm after. And I encourage you to do the exact same thing. And that can pertain to the shape of the face. It can pertain to the shape of each of the facial features, the shape of your character's body. If you're getting into that. Once we got the under drawing completed, let's go through the exact same process again. At this point, you'll be fairly familiar with the drill. Going around the eye-opening with a darker outline. And then we'll increase the size of our brush just a little bit and start filling in those beautiful eyelashes. We'll make our way around the entire area, building it in bit by bit until the whole thing is nice and dark. And again, you can see the effect that eyelashes add to the eye creates a nice, beautiful frame that just pulls you in. Eyes are important. They're the windows into the source. So of course we want to draw people's attention to them. And I would argue that if you mess up the eyes on your face, it doesn't matter how well you draw on the nose. It doesn't matter how well you draw in the mouth. If you mess up those eyes, everything kinda gets thrown out the window. There. The first impression that people are going to have over your head overall. So if you get good at drawing any one facial feature, makes sure it's the eyes. Really practice those the most. I used to draw almond-shaped eyes, which certainly wasn't appealing. Probably the way in which I learned how to draw eyes is by looking at the work of Mark Soviet history. And that's where I got that trapezoid shape from. And that was my own analysis, my own way of interpreting it. So who knows how he thought about it as he was drawing them in there, but I really helped me out a lot. And I tried to analyze your references in the same way, try to create associations with what you're seeing. That'll allow you to be able to execute how you draw the same facial features and to remember how to draw them as well. Okay, So same deal here. We'll go ahead and we'll draw in the iris and the pupil. And remember that the membrane of the iris is actually going to push the top eyelid upward when the eye is looking up. And of course we're not going to place our pupil out here. We're going to place it back side the iris drawn out a little reflection. That completes the eye-opening. Now let's attend to our eyebrow defining its shape, keeping the line claim. Always remember that make it a priority. When it comes to drawing the final outline of your art. Keep those lines smooth, iron out any blurriness within them. I think that was probably the hardest part about learning how to draw digitally for me is just trying to get my Don outlines to be smooth. I tried everything to I tried automatically. I tried the pen tool and almost synthetically putting my line in so that it was completely 100% neat, but then it was too neat. You can have a line that looks way too neat. Be careful with that. If you're working digitally, what I'd encourage you to do is mess around with the stabilization of your brush. I've got very high level of stabilization applied to my inking brush when I go to ink my comic books. And the reason for that is because what stabilization does is it gives you the ability to draw a very long lines that are extremely smooth and straight. Don't want to ramp it all the way up. Otherwise, again, you'll get that weird artificial appearance TO work where it just looks to dance moves. So use it in a reserved manner. It depends. Some hands, some people have hands that a steadier than others. So you've got to calibrate all of this stuff with your own way of working. Some people have a tighter grip than others. And so they've got to use a smaller brush size because they just tend to press heavier. And if they were using a larger brush size than those lines will become an out way too thick. Some people have a very light amount of pressure that they apply to the drawing board. And in that case you maybe you want to thicken up the size up your brush a bit. Okay, once you've drawn out the eyebrow, let's go ahead and Goring the top eyelid about holding up against the upper ridge of the eye socket. Okay. That completes the dynamic views of the eye when we're observing it from above, and when we're observing it from below. 4. Assignment: Hey, thanks for watching. I hope that you got a ton of value out of this class. And ideally, what you've got drawn up in front of you right now, after going through the lessons, is a whole bunch of eyes drawn from different points of view. But it's going to take practice to get really good at this. So that's exactly what I'd like you to do for this assignment, is goes through and drop the human eye from the front side, three-quarter, top-down and bottom-up perspectives a few times more. So that you can get to know this process off by heart. Build your confidence up so that it doesn't matter what viewpoint you're drawing the human eye on. You can do so without even thinking about it. You know it off by heart. Good luck with the assignment and until next time, keep drawing.