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逐步教学：如何绘画嘴巴
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人脸是让众多艺术家耗费心思的题材。这就是为何我们认为，逐一仔细观察脸部的各个部分是个好主意。今天我们要来讨论怎么画嘴巴。
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The mouth, compared to eyes and noses, is a feature of the face with much more variety. Whereas drawing eyes and noses can often be quite similar from one to the next, there are even more creative possibilities when dealing with mouths. In addition, the mouth is the most anatomically flexible facial feature, and can therefore take on a wide variety of shapes. It is simply not possible in a single, short tutorial to go into the huge range of states of mind that the human mouth can express. This would end up including the anatomy of the jaw as well as the corresponding musculature around the jaw which varies widely depending on the position of the mouth. A complete overview of the stylistic possibilities when discussing how to draw a mouth is beyond the scope of this tutorial.
Therefore, I have selected a cross-section of different styles and positions in the first picture. In this tutorial on how to draw a mouth, we will concentrate on our preferred approach. Of course, we don't want to restrict anyone's style with this approach. As always, our main aim is to identify a concept to be as inspirational as possible for you.
Let's start.
如何从正面绘画嘴巴
嘴巴的位置
我们先从嘴巴的位置开始。确定好头部结构之后，引导线会为我们提供垂直位置。嘴巴位于鼻子和下巴之间的第一条分线上。也就是说，嘴巴到下巴的距离应该是嘴巴到鼻子距离的两倍。一般来说，嘴巴的宽度与瞳孔之间的距离差不多。经验显示，我们应该把这个宽度稍微缩小一点。
在开始解答怎么画嘴巴之前，我们得先画一条简单的线。这是嘴巴的主线条，同时也是上唇的下缘。从这条线作为起点，是界定嘴形比较快、比较直观的方法。这条线不一定要完全笔直，但你应该试着画直一点，至于更有难度的曲线，让我们以后再来挑战。
Next, we add the upper lip “V” at the midpoint of the line. It can be anything from sharply pronounced or not present at all. At the beginning, let’s limit ourselves to a very subtle “V”. Make sure that the lines of the “V” are not straight, but curved slightly downwards.
On each of the two outer edges we add a comma: the corners of the mouth. These two commas will to a large extent eventually determine the overall expression of the mouth.
When drawing the upper lip, it is best to first construct a flattened trapezoid in order to make sure that it is as symmetrical as possible.
Now we draw the contour of the upper lip as elegantly as possible using the trapezoid construction. It should rise gently from the sides and form a small “V”-shaped indentation in the middle. You will notice that the difficulty in drawing this line lies in making sure that it is neither too round nor too angular.
Finally, the lower lip is a simple, flat “U”. The “U” should point towards each corner of the mouth, but in most cases it is a good idea to not connect the corners of the mouth with the lower lip.
Another inverted “U” is there to indicate the chin. This chin-“U” now lies precisely upon the lower of the two headshape construction guide lines.
Corners of the mouth make all the difference
Here you see the same mouth three different times with different corners. The corners of the mouth can be drawn upwards or more downwards, thick or thin, or you can even experiment with crazier shapes. You should keep in mind that tiny changes in these little, inconspicuous commas can significantly influence the expression of the face you are drawing. It is not the most prominent line, but about 90% of the mood of the face - happy or sad or whatever - will be decided by these lines. If your drawing of a face does not achieve the desired expression, it is usually because of the corners of the mouth!
How to draw the upper lip
The shape of the upper lip can vary greatly depending on the face when we consider how to draw a mouth. Narrow upper lips tend to look more masculine. A flattened “V” indentation can give the upper lip a more feminine look. But of course this doesn’t mean that women always have wider lips than men. It’s not at all a rule.
How to draw the “V” and the lower lip
The lower “V” can also take on different shapes. It can be more pronounced or less, or semi-circular.
Finally, the lower lip can also deviate from the “U”-shape and, for example, become flatter towards the middle or rise slightly (see the last picture).
The more of these variations you know, the richer your possibilities and ideas when drawing different mouths.
如何绘画张开的嘴巴
接下来，我们把嘴巴张开。这里有好几件事情需要注意。
The wider the mouth opens, the narrower it becomes both in overall width and in the lips. If the mouth is wide open, the lips are stretched and therefore thinner. The two “V”s of the upper lip also progressively flatten.
The teeth are easiest to show if you ignore the spaces between them. Reducing the rows of teeth to continuous surfaces is helpful, because spaces drawn between teeth run the risk of looking instead like gaps between teeth. If you still want to show the teeth individually, it helps to draw the spaces as finely as possible.
Normally, the bottom row of teeth is only visible when the mouth is open really wide. Here you can also hint at the palate and tongue, but it is usually sufficient to represent the mouth’s interior as a continuous, dark surface. Therefore, let’s stay focused on how to draw a mouth and not go into too much detail about the interior.
如何从剖面及其他角度绘画嘴巴
现在我们来绘画剖面图的嘴巴
一样先从主线条开始：上唇下缘，包括嘴角处的弧形。这里要注意，主线条是朝下的。乍看之下可能会觉得这个嘴巴很悲伤，但别被迷惑了，嘴角才是决定心情的关键。
如图所示，剖面图中的上唇会呈现向前急剧倾斜的梯形，而且明显突出于头型。
下唇应该要有与上唇重叠的大致矩形形状。建议从两条几乎平行且朝下的线开始。第一条从嘴角开始。第二条则从上唇内侧开始。如图所示，这条线会从上唇嘴角的左侧开始。
现在我们来完成下唇的矩形。这里请注意，比起上唇，下唇从脸部突出的幅度比较小。
然后，把上下嘴唇与鼻子和下巴连起来。
几种变化
这种构建结构的方法往往能提供很大的自由度。你可以自己决定使用什么比例、线条想要弯到哪个角度、边缘想要有多尖锐或多柔软，以及个别线条该向内弯或向外弯，或是呈现“S”形。几乎一切都有可能。
当然，你也可以加入两个“V”。不过画剖面时，务必确保左侧主线与下方底线上的“V”重叠。
嘴巴结构的比例与角度会随视角变化
请从主线条出发，因为这里是其余结构的基础。主线条会顺着头部的曲线走。如果头部向上倾斜，主线条就会变成向上的曲线。如果头部向下倾斜，主线条曲线也会跟着指向下方。
除此之外，不管头部朝上或朝下，我们都必须考虑嘴唇的视角也会跟着发生变化：不同视角的嘴唇，某些区域看起来会比较窄或比较宽。如果我们把头往下转得够远，嘴唇就会完全消失。转头时，下唇与下巴线的距离也会因此缩短。
如何替嘴唇加上阴影：漫画风格
Shadows
Now let's add a little shade to the lips. The mouth in frontal view lends itself well to this. If you are working digitally, best use the following steps on a separate layer.
First of all, we fill the entire lip area with a medium grey tone.
When we think about how to draw a mouth, most of the shadow on the lips is created along the main line. The shade should be slightly darker than the background layer, but not so dark as to overshadow the outlines. The shadow area follows the lip shape above and below the main line respectively. It is slightly “U”-shaped at the bottom and with the usual “V” at the top.
Light
Let’s now define the two lightest areas. These are at the top of the upper lip and at the bottom directly below the drop shadow, bean-shaped one on the lower lip. Because lips tend to have a bit of a shine, the light areas can be easily drawn in white with hard edges.
Finally, in order to add texture, interrupt the two white areas in some places. The easiest way to do this is to make some quick stripes on the plane of the white area with an eraser. The interruptions should always run radially from the center line, up and down. Think of it like the rays of an almond-shaped sun.
With a little practice, this somewhat abstract, bold shading method works very well and is also quite easy to apply to different perspectives. But, let's go ahead and try a more detailed version anyway.
如何替嘴唇加上阴影：写实风格
If you want to draw lips a little more realistically, you can do the following:
Lips have a lot of very fine, vertical wrinkles. These can be easily simulated by filling the lips with many thin, slightly outward-curving strokes, as shown in the first picture. It is best to use only about 30% opacity and draw the strokes as quickly as possible, similar to hatching. It doesn't matter at all if your hatching goes beyond the edge of the lip because you can simply erase all the overhanging hatching at the end. Start at the left edge and work your way inward to the center. When you reach the center, rotate your work surface. This is the easiest way to change the direction of the curve.
Now repeat the same process on a separate layer, this time in white.
More detailed main-line
Another way to achieve more detail is by dividing the main line into many overlapping “U”s. Try to vary as much as possible: wide “U”s, narrow “U”s, high “U”s, and flat “U”s. Always let the ends taper upward.The slope of the “U”s gets flatter towards the sides, mirroring the thin texture lines. And, always position the lower edges of the “U”s on your main line.
Fine-tuning
For a clearer understanding, here I have highlighted the layer used in the individual steps, and partly hidden the unnecessary layers. Here on the first picture you can see the result so far of all the components, including the grey background area. Each step is on its own layer. This will give us the flexibility to add the finishing touches:
First, we can reduce the opacity of individual layers to fit them together better (picture 2). The layers containing the many thin white and black structural lines can be made a little more unobtrusive, so it’s good to reduce their opacity a little.
The third picture shows some subtle revisions. In a few areas the structure seems exaggerated. You can remove these areas carefully with a soft eraser. In the picture, I have removed the black structure along the upper edge of the upper lip. I have only left the bean-shaped area of white texture on the lower lip.
Also, the outer edges of the lips still look a bit too hard. So, we can soften the edge of the grey background area.
Shadows of realistic lips
Now we use shadows to give the lips even more depth, similar to the abstracted mouth before, but this time with softer edges. We will need the heaviest shadows directly below the main line. The shadow here can be very dark, almost black.
We again define two areas of light: one at the top of the upper lip, and an almond-shaped one below the drop shadow of the lower lip. You don't necessarily have to follow my shapes exactly here. Instead, just try to imagine which areas of the lips get the most light.
绘画嘴唇的光泽感
我们可以加上与抽象版本相同的光泽图层，然后稍微编辑调整一下。如你所见，我稍微突显了一下上方的“V”。
当然，不是每张嘴巴都必须像上一个例子那样详细画出来。但是，细节多少当然没有限制。你可以自己决定作品适合哪种细节程度。
希望你在这次学习如何画嘴巴的过程中画得很开心，也希望本教学能让你学到一两个对今后绘画有用的技巧。
下次见。
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