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drawn eye dragon #5. 2300×1337 how i draw semi realism eyes. pay very close attention to the line weight in the eye proper line weight can mean the difference between a good and a great portrait notice how the lines . i find the male eyes much easier to draw than female eyes maybe i\u0027ll draw boys and men more often from now on!. okay, i manged to do the eyes which took me less time then i had originally thought they would the mouth and nose was pretty easy but the eyebrows got me . this is my second practise drawing, and it\u0027s now eyes i drew europe eyes and asia eyes the eurpe eyes was easy to draw, but the asia eyes was harder to . remember when i said i might draw anna if i had room well i had some room left to have a go because of how elsa is looking off onto the left . working on the eyes, nose and mouth proportion. drawing eyes sketch makeup art eyelashes easy beginners eyelashes drawing tips, drawing techniques, drawing. sometimes it is easier to do this by rotating the board as i have in this photo.

hey i am admin and you are observation a rapid-fire art tutorial after you add lightweight and shadow to your delineations you can make your subject come to life by making the illusion of form and depth you'll create a flat line drawing jump right off the page in order to shade higher you'll want to follow three things pressure management a way to shade swimmingly and most importantly perceive how light-weight behaves i am gonna walk you through all 3 things and so we'll shade something along pressure management realistic shading is done by making a series of values ranging from lightweight to dark the tougher I ironed down on the pencil the darker the strokes portraits displaying a limited price range can end up wanting very flat while portraits with a wider worth vary will pop to have smart pressure control practice shading from one finish of your sketch block to the other whereas pressing tougher and harder till the values get darker bit by bit differently to practice is to draw a protracted rectangle and divide it into many squares fill the squares from right to left start with the darkest value you'll probably create and work your way towards the lightest it is important to maintain the same pressure between every back-and-forth stroke or every individual stroke this can take some practice and concentration to develop the motor memory form if you are interested in the tools i use and wish to be told more about the various pencil types verify the link below some tools can build shading easier for you but you fully do not need any special pencils to get started as a result of you can draw and shade realistically with pretty much anything that can make light to dark marks here let me show you i'm attending to draw using this random stick I found in my room once it's burnt I can use it rather like an everyday pencil my point is that unspecified pencil will do there is no reason why you can't begin shading these days really the most necessary issue is simply to start out a way to shade smoothly to shade smoothly attempt to eliminate major gaps between your strokes whereas maintaining sensible pressure control now it's troublesome to eliminate gaps if your pencil is sharp therefore what you'll do is wear the pencil down till the tip is dull or use the side of the semiconductor diode to draw therefore your strokes square measure thicker if your shading a large space and need to avoid these dark stripes avoid victimisation your writing grip whereas pivoting at the wrist joint instead use an overhand grip and pivot from your elbow and shoulder to realize for much longer strokes just keep in mind to stay those strokes close together eliminating gaps that may build your drawing look rough understanding light have you ever tried shading one thing over and over without it trying even near to your subject for many beginners shading is maybe a guessing game that's whole what it had been on behalf of me until I learned a few basics about light things just started making a lot of sense knowing where to properly add light or shadow can build a very big distinction

how realistic your artwork will encounter i'm getting to use a sphere to indicate the various elements of lightweight as a result of the patterns ar heaps easier to suggests than a fancy type like a nose for example here we've a plain wood attached a light source returning down from the highest left we've got 2 distinct sides the sunshine facet which is facing the light source and therefore the shadow side that is turned away at the edge of our shadow we've got something referred to as a core shadow which could be a dark strip running on the boundary between the two sides the core shadow is most visible on a white table as a result of white is extremely reflective light rays come back down bounce off the table and illuminates

the shadow aspect of the ball exploit a dark band thus as you'll see we've two forms of light-weight direct light and mirrored light-weight that is why shadows square measure seldom all black there are such a big amount of things within the surroundings that light-weight will replicate off of walls close objects or perhaps mud particles floating around within the air do confine mind that black surfaces absorb light thus during this example the core shadow is not any longer visible going back to the image of the nose can you tell which square measureas are lit by reflections and where the core shadows are as mentioned earlier lightweight will reflect off of the many things in the environment however they need a difficult time bouncing their manner into tight spaces like the world where the ball touches the table this is called an occlusion shadow and this is a forged shadow which appears once a kind blocks light-weight from reaching another during this case the ball is blocking lightweight from reaching the table the solid shadow can tell you where the light source is coming back from all you have got to do is trace the edges against your object how many forged shadows can you notice on the nose let's advance to the light aspect of the ball on this side there are only three things i would like to suggests

there's the core light-weight that is that the space facing the lightweight directly then there is the high light which is really a reflection of the light-weight supply this is often the brightest point on associate degree object the aspects will appear crazy matte surfaces like this wood ball or onerous on shiny surfaces such as a plastic ball associate degreed as unintuitive as it appears the high light-weight can change position reckoning on wherever you area unit standing the previous thing our mid-tones or half-tones mid-tones are the darkest values on this side of the ball wherever the edges start hooklike away from the light supply these areas receive less and less light the more the angle away are you able to suggests the core light highlight and mid-tones on the nose shade with me let's shade an apple along while not staring at any reference pictures with our basic

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