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欢迎来到眼睛绘画教学。与平常一样，并非只有一种方式才能画出某种东西。不过，想要好好钻研与完善自己的技巧和方法，有些诀窍与技巧非常实用。我在这里总结了部分技巧，而且会尽量用一种有趣的方式来说明。
1. 如何绘画眼睛 - 了解眼球
漫画眼
之前曾经画过脸的人，在画眼睛的时候，可能都是先画上两个点或画几笔。历经几次尝试后，大概就会变成两个中间有圆点的圆圈。这种抽象的表现方式，实际上准确地总结了眼睛的形状：两颗球体，每颗球体都有个指示视线方向的瞳孔。下一步，我们这些大胆的插画家会觉得，我们需要通过眼睛来表达情感。于是，我们会在眼睛中加上眼睑。我们很快就可以发现，眼睑下垂往往显得生气或邪恶，上翘的眼睑则看起来悲伤或温柔。
这种基本的眼睛表现类型是卡通、漫画和动画的惯常做法，这样画的理由很充分：这些卡通式的眼睛可以呈现出相当丰富的情感。如果我们仔细观察就会发现，漫画家其实对眼睛形状做了很多思考，虽然他们之后选择了乍看之下相对简单的表现形式。在探索接下来的步骤时，还请牢记这一点。
An Eyeball is a Sphere
First, let's try to understand the actual structure of the eye. Understanding the structure doesn't mean that every drawing has to have all the details of the eye. You will need to decide for yourself which details you want to emphasize, and which aspects you want to leave out. Your own style will develop out of these choices.
But now to the structure of the eyes:
As we know, the eye is a ping pong ball sized sphere sitting inside the head. So, let's get started by drawing this sphere. By giving the sphere horizontal and vertical axes, we show that it is not merely a circle, but a 3-dimensional sphere that is, in this case, turned slightly to the left and up. When you draw in the two axes, make sure that they are ellipses that end at exactly half the height or half the width of the circle.
Pupil and Iris
Viewed from the front, the iris is about half the size of the whole eyeball. The size of the pupil varies from person to person, and it also depends on the light situation and the mood. In addition, the iris is not painted flat onto the eyeball. Rather, it is raised a bit like a contact lens would be. When we draw an eye from the front, we don’t need to worry about this detail. But, the farther the eye is turned, the more prominent this iris “bump” becomes. Technically, the pupil is not actually a black dot, but a small hole through which light enters the eyeball. It is centered behind the iris lens, instead of on top of it. That's why when an eye looks to the side, you’ll move the pupil a little bit towards the center of the eye.
The picture shows the eye turned in three directions. Notice what happens to the iris and pupil:
- the iris becomes narrower, more elliptical
- the outward curvature of the iris becomes more pronounced as it moves to the side.
- the pupil is no longer centered in the iris, but moves a bit towards the center of the eye.
杏仁形：进阶
接下来，我们要开始研究艺术家心中所谓的“眼睛”到底是什么样的。我们所说的，其实是眼球部分凸出的开口，或说上下眼睑边缘之间的空间。基本上，我们眼睑边缘的形状像两个扁平的 U 形，由内转向彼此。我们进一步来看一下这两个 U。
就算是经验丰富的绘图师，在画上眼睑的线条之前，也经常需要花点时间进行审视，在头脑中进行思考。这是因为，即便这条线出现了非常微小的偏差，也会整个改变脸部的表情。有个技巧会很有帮助，就是把上眼睑分成 3 个部分。（对了，这种把难画的线条分成几部分的技巧，不只适用于眼睑。任何线条都可以通过这种方式预先勾勒出来。）下眼睑也可以分成几部分。
不过，这里应该只画两笔，不要画三笔。出于某种谜之原因，如果我们把上眼睑分成三部分，下眼睑分成两部分，眼睛之后看起来会更有活力。某些艺术家会与此相反，上眼睑画两笔，下眼睑画三笔。大家可以自己试试看。
在眼睛的中间部分，靠右这里，你会看到所谓的泪腺。
这因人而异，有时甚至根本看不出来。
现在，我们已经先勾勒好眼睛的形状。我们可以把细分线的角度稍微修圆一点，或试着把两条双眼皮线画得干净些。
变化
这个 5 线概念可提供丰富的变型。根据线条长度比例以及角度，可以创造出多种不同类型的眼睛，来表达丰富的情绪。当然，这些线条主要用来事先勾勒，至于想在眼睛上继续使用哪种风格，由你决定。5 线概念是一种非常有趣的风格手段。
Eyelids
Next, we should keep in mind that the two eyelids have a certain thickness too. On one hand, this makes the eyelids to protrude from the face a little farther than the eyeball when viewed from the side. On the other hand, a narrow edge will be visible all the way around, almost parallel to our 5 lines from before. If you might want to draw a crying eye at some point, you might be interested to know that tears collect on the narrow ridge of the lower lid. Neither area is always visible – it depends on whether we are looking at the eye from above or below, and on what the eye is doing.
Summary
The eyes – including the eyelids – can be constructed from every conceivable perspective in this way. Start with the sphere and imagine the eyelids wrapping around the sphere. Use the 5 lines to work out your basic shape. You will need to adjust the lengths and angles of your 5 lines depending on perspective. In some perspectives you may only need 2 or 3 of the lines because the rest are hidden behind the eyeball itself (e.g. in profile). At which points does the narrow area of the eyelids become visible? Which of the lines do you want to emphasize, which can be ignored? We will get into this in more detail below as we position the eyes on the face.
2. 如何在头部形状基础上画出眼睛
Triangle
Now that we know all sorts of things about the eyes themselves, let's try to fit them into different headshapes. If you can already draw the headshape from different angles, then great! If not, I’d highly recommend the previous tutorial on "How to Draw a Human Headshape". I'll be using the same headshapes from that tutorial. These heads are a very handy starting point, but you don't necessarily need them.
In order to define the eye area, I like to start with the small, almost triangle-shaped area above the nose. As you can see, the triangle shortens when the head is looking down and lengthens when looking up. In profile, The triangle seen from the side simply becomes a line.
By the way, when you draw the triangle onto your headshape, you can use the guides at the center-line of the headshape for easy orientation.
The Batman Mask
Next, and very simplified, we want to define the shape of the bones around the eye, because they are very important. They protect our eyes from blows and soccer balls. ;) The easiest way to define the bones around the eye is to use the Batman mask. Our triangle serves as a starting point here.
Just like our eyelid construction, the Batman mask consists of 3 lines at the top and 2 at the bottom. Each of the outer edges meets the cut out areas of our headshape exactly. When you transfer the Batman mask onto the tilted heads, notice what happens to the angles, and which lines appear shortened. In profile we can see only part of the mask, of course.
Position of the eyeballs
The eyeballs are obviously not glued onto the front of the face. Instead, they are located quite deep inside our head. Therefore, in placing our spheres into the Batman mask, we have to offset them a bit. How big the offset depends on the perspective. You can see this particularly clearly with the head tilted up. In profile we see this very easily. From the front, the depth of the eyeballs isn’t visible at first.
There is no general rule about how far apart the two eyeballs have to be. But if you are not sure, just think of a third sphere (or a little more) between the two eyeballs. This will give you a good distance.
Pupil and Iris
Never underestimate the importance of what we learned earlier about the pupil and iris. Even a tiny bulge in the iris can enhance the realism of your eyes. From the front of course, you don't need to embellish. But as soon as the eye is not looking straight on at the viewer, remember to curve the iris and the deepen pupil.
Eyelids 1
Now let’s get to the eyelids. First, mark each of the two outer edges of your eyes level with the headshape guide lines. Then, draw in the pentagon. If you have already constructed the spheres neatly, everything else almost draws itself. Here again subtle changes to the angles and lengths on the sides can be made depending on how you’re viewing the headshape. When the views are pushed to extremes, the pentagon might also form interior angles, such as here in the picture with the two heads looking up and down respectively. In profile, the iris covers half the pentagon.
Eyelids 2
The second eyelid line is a nice way to emphasize the perspective you decided to depict the face from. Pay close attention to which parts of the narrow eyelid surfaces are facing the viewer. They will be thicker than the others. For example, with the head looking up, only the upper eyelid is visible. But then with the head turned to the side, different areas of the eyelid surfaces become visible around each of the eyes.
Eyelid Crease
The two eyelid creases are the boundary between the eyelid and face. The upper crease in particular lends your eyes increased depth. Here, you can use the sphere as a guide. It's also worth holding on to the subdivisions from the eyelid design at this point. If you don't want your face to look old or tired, draw the lower eyelid crease a little softer and shorter than the upper. You can even hint at it just slightly.
Eyebrows
Eyebrows tend to express the mood of your face very clearly. In a neutral, resting state, the eyebrow starts at the top of the triangle, rises slightly, and then tapers down again. The edge of the eyebrow is again the cut out areas like in the original headshape design.
It's best to define the shape of the eyebrows with outlines first. This will simplify later steps. You can also indicate the direction of hair growth with small lines within the brow shapes. Start in the middle with steep lines, and flatten them out closer to the edges.
3. 如何绘画眼睛 - 轮廓与纹理
Outlines
We can now finally harvest the fruits of our labor. From here on, your own style input is necessary. Every draftsperson has their own unique lines and handwriting. Maybe you’d prefer a more sketchy style, or maybe you want to start working with surfaces or colors straight away. Naturally, this is entirely up to you. From this point on, you have a ton of opportunities to develop your image. But since we're not talking about different styles or coloring in this tutorial, let's develop our eyes using entirely clean lines.
As you can see, the two upper eyelid lines can also be combined into a single thick line. This is especially true if you want to create a shadow. For the lower eyelid, it's a good idea to use the outlines a bit more sparingly, because usually shadows do not occur here when the light source is from above.
Iris and Pupil
For the iris and pupil, I am going to give you a simple (but very effective) solution when using a graphic tablet: Reduce the opacity of your brush to about 30% in order to paint the iris. This is easier if you use a brush that is just a touch smaller than the iris itself. Next, let’s give the iris a little sparkle by reducing the brush size and hardness to lighten the center of the iris with white. Now you can fill the pupil in black. Of course, make sure that you offset it a bit from the center of the iris, depending on the view angle. Now you can use white again to set a light reflection point. Preferably, this will be slightly offset from the pupil. It doesn't always have to be a dot. You can experiment with different shapes. To add a final touch to the iris, show the shadow on the upper lid that it casts on the iris. And if you like, you can also throw in a little more detail to the structure of the iris by drawing (preferably on a separate layer) subtly alternating black and white lines from the pupil to the edge of the iris. But – just little tip – only make this effort if the eyes you are drawing are actually big enough to be able to notice this level of detail.
眉毛
要想逼真地绘画眉毛，其实并不难。你可以使用“涂抹”工具来做到这一点。为了呈现这种效果，擦涂时请务必沿着毛发生长的方向。这样，形状的硬边就会变成一条轻盈的锯齿状线条。小心别让这些锯齿状太均匀或太乱。如果对结果满意，可以稍微把锯齿线条弄淡些，然后加一些毛发来润饰眉毛。对于眉毛毛发，同样可以采用既不是过于整齐，也并非杂乱无章的细线。画出单独的毛发时，笔触要尽量快。建议使用略为弯曲的线条，逐渐变细，而且方向不要过于一致，但同时依然要注意毛发的生长方向。
睫毛
这是十分重要的步骤，而且略有挑战性。睫毛通常要多尝试几次，下点功夫，才能画好。一些小诀窍或许能让这个任务简单些：睫毛长在第二条或说外眼睑线上。眼睛外缘的睫毛通常比较长。下睫毛比上睫毛短，接近中间时，通常变得很细，几乎看不见。此外，眼睫毛是弯的，而且弯曲的方向取决于你对眼睛弧线的视角。意思是，弧度往眼睛中心逐渐减小，而睫毛在眼睛两侧往反方向弯曲。这听起来可能有些复杂，但其实看图就容易理解了。
画睫毛时，运用两步骤流程会很有帮助：首先，每个眼睑只画大约十根睫毛。小心，所有睫毛都要以正确的角度弯曲。同时注意长度，让睫毛像眉毛一样逐渐变细。第二步，在原始睫毛间的空隙插入“杂乱的睫毛”，这里用灰色显示。稍微改变曲线的长度和方向，偶尔让几根睫毛聚在一起，形成一小撮。
根据头部的转向方式，睫毛的方向也会改变。这可能需要稍微做一下空间思考。不着急，慢慢来。仔细想一想睫毛要指向哪个位置。
已完成
这个十分具有挑战性的教学先到此为止。你不用马上消化并运用其中的所有内容。但是，在本教学中，你几乎可以找到所有绘画眼睛所需的诀窍。你肯定会想要尝试其中的一两个！
祝你画得开心，下次教学再见！
剧透警告：我们刚才煞费苦心勾勒出来的眼睛，会在下一个教学中直接消失在鼻子后面！
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