眼睛的刻畫-1

Hi, my name is Stephen Bauman and in this tutorial, I'm going to be talking about the human eye. I'm going to be looking at it both from an anatomical and structural perspective, but also from a drawing perspective. I think it's always important when learning about the features of the human form to connect together this theoretical knowledge and a practical application to your drawing. Let's start by learning a little bit about the eye socket. The eye socket itself is a square hole with rounded corners, which is angled upward towards the center line of the head. The orientation of the plane of the eye socket slopes inward and downward from the upward-facing plane of the forehead, concluding at the upward-facing plane at the top of the zygomatic bone. The eye sockets themselves are not flat. It's important to remember that they are rounded along with the form of the head, so the inner corner is further forward than the outer edge. This is most easily observed when making a portrait that is drawn in profile or from a three-quarter view. From the downward-facing plane of the eye socket, the sphere of the eyeball presses outward, its rounded form also influencing the form of the eyelids. The upper eyelid being the most prominent visually is made up of three major planes, and its bottom and top edges are useful in measuring its vertical placement in relationship to the other eye. The upper and lower eyelids then, which are covering the eyeball, have a certain thickness that will show as a thin downward-facing plane below the upper eyelid and a thin upward-facing plane above the lower eyelid. Because the upper eyelid descends almost halfway down the front of the sphere of the eyeball, near its equator, its down plane is rarely seen, whereas the lower eyelid's upward-facing plane is much more easily seen. Moving on, we finally come to the eyeball itself. I want to talk a little bit about its structural makeup, but then also how it interacts with the light that's on the model. The eyeball itself, of course, is a sphere that sits inside the bony eye socket and is surrounded by a cushion of fat that fills the space between the eyeball and the skull. The white of the eye that we commonly see is called the sclera. Though speaking about it from a value perspective when we're drawing and painting it, it is very rarely white. Its value, like any form, is dependent upon where it is lit from and the intensity of that light. Next I want to talk about the cornea, which is a clear dome-like raised form that sits just on top of the iris. This form will often catch the highlight from the light source on the model. The relationship between the iris and cornea is particular and important. The cornea is convex, and to a lesser degree, so is the iris, according to anatomical diagrams. There is a long-standing tradition, however, of thinking about the iris more as a concave form. When studying the light coming into the eye, in this case from the upper left-hand side, and adding value to indicate this passage of light, we can see an inverse relationship between the highlight on the cornea and the pattern of light and dark found on the iris. This is the pattern to always look for when rendering the values of the eye. Armed now with this information, we're ready to begin our drawing. We're going to be making this drawing using graphite pencils, our kneaded rubber erasers, our Mono Zero Tombow erasers, and also paper stumps to kind of help push the graphite into the paper. The paper that we're going to be drawing on is an off-white sheet of Stonehenge that's been stretched around a quarter-inch deep panel. Like with any drawing, we have to start out by blocking in the proportions of the feature that we're going to focus on. This will mean the parameters of the eye socket, things like the tear duct outside corner of the eye and the crease in between the brow ridge and the upper eyelid. The goal here is to block in the most recognizable version of the eye that I can make using the most limited information possible. Always we have to keep in mind this balance between the abstract and the recognizable. If I block in an eye that is too abstract, too heavily relying on measurements and connecting points, I will risk to have a subject that I cannot compare very well to the source image. On the other hand, if I get too into detail, focusing on the striations inside the iris and the eyelashes and individual hairs of the eyebrow, I can also risk to lose my sense of flexibility and the breadth in the drawing. If we take a look for a moment at the geometrical breakdown I've made of this eye and eye socket, we can see past some of the detail and into a world which can solidify our understanding of the form. Your assignment in this moment is to make sure that your drawing is free from the kinds of hard, dark and concentrated values that might lead to being less flexible. This kind of flexibility and breadth in a drawing cannot be overstated in its importance. As artists, we are all bound to our level of understanding in any given project. This sense of softness and restraint in a drawing can seem a little bit like a peripheral concern. But speaking as someone with a lot of experience, I can say that it is a quality that I apprise over almost all others. Wrapping up this first stage, we can see that everything that needs to be in the drawing is in place. This can be a little bit difficult to discern with a drawing like this one that is a cropped version of a feature within the head. But still, I have decided on a composition and included everything that was going to take part. An important thing to mention in this moment that might not be apparent when watching this video is that up until this stage, I really have not put a lot of pressure on the tip of my pencil when applying value to the paper. When drawing with graphite, this really means everything. It can be so easy to scar the paper or to make marks that are both psychologically and technically very permanent feeling. For this reason, I encourage you to always hold your pencil much further back from the tip to balance your hand on the paper or on the edge of the paper when you're drawing. Really,anything that you need to do to reduce the amount of pressure that you put on the tip of your pencil.