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歡迎來到如何畫眼睛的教學。與平常一樣，並非只有一種方法才能畫出某種東西。不過，想要好好開發與改善自己的技術和方法，有些訣竅與技巧非常受用。我在這裡盡可能總結了許多技巧，我也會盡量用一種有趣的方式來說明。
1. 如何繪製眼睛 - 瞭解眼球
漫畫眼
之前曾經畫過臉的人，畫眼睛的時候，可能都是先畫上兩個點或幾個筆畫。歷經幾次嘗試後，大概就會變成兩個中間有圓點的圓圈。這種抽象的表現方式，實際上非常準確地總結了眼睛：兩顆球體，每顆球體都有個指示視線方向的瞳孔。下一步，我們這些大膽的插畫家會覺得，我們需要透過眼睛來表達情感。於是，我們在眼圈形狀中加上眼皮。我們很快就會發現，眼皮下垂往往看起來很生氣或邪惡，上翹的眼皮則通常看起來很悲傷或溫順。
這種基本的眼睛表現類型是卡通、漫畫和動畫的經典，這樣畫的理由很充分：這些卡通式的眼睛可以呈現出相當豐富的情感。如果我們仔細觀察就會發現，漫畫家其實對眼睛形狀做了很多思考，就算他們最後選擇乍看之下很簡單的表現形式。在探索接下來的步驟時，還請牢記這一點。
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：進階
接下來，我們要來仔細研究藝術家心中所謂的「眼睛」到底是什麼形狀。我們所說的，其實是眼球一部分凸出的開口，或說上下眼皮邊緣之間的空間。基本上，我們眼皮邊緣的形狀像兩個扁平的 U 形，由內轉向彼此。我們更進一步來看一下這兩個 U。
就算是經驗豐富的繪圖師，在畫上眼皮的線條之前，也經常需要花點時間以專家的角度審視，在心裡做好規劃。這是因為，即便這條線出現了非常微小的偏差，也會整個改變臉部的表情。這個技巧會很有幫助：把上眼皮分成 3 個部分。（對了，這種把難畫的線條分成幾部分的技巧，不只適用於眼皮。任何線條都可以透過這種方式預先勾勒出來。）下眼皮也可以分成幾部分。
不過，這裡最好只畫兩筆，不要畫三筆。出於某種謎之原因，如果我們把上眼皮分成三部分，下眼皮分成兩部分，眼睛最後看起來會更有活力。某些藝術家會反向操作，上眼皮兩筆，下眼皮三筆。大家試試看。
在眼睛的中間部分，右邊這裡，你會看到所謂的淚腺。
這因人而異，有時甚至根本不存在。
現在我們已經先勾勒好眼睛的形狀，我們可以把細分線的角稍微修圓一點，或試著把兩條雙眼皮線畫得清楚些。
變化
這個 5 線概念提供了很豐富的變化可能性。根據線條長度比例以及角度，可以創造出非常多種不同類型的眼睛，表達豐富的情緒。當然，這些線條主要用來事先勾勒，至於想在眼睛上繼續使用哪種風格，都以你為主。然而，運用 5 線概念，可以是非常有趣的風格手段。
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. 如何在頭部形狀基礎上畫出眼睛
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. 如何繪製眼睛 - 最終的輪廓與紋理
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
眉毛的形狀很容易能從看上去是畫的，變成看起來像真眉毛。你可以使用「塗抹」工具來做到這一點。為了呈現這種效果，擦拭時請務必沿著毛髮生長的方向，這樣形狀的硬邊就會變成一條輕盈的鋸齒狀線條。小心別讓這些鋸齒狀太均勻或太亂。對結果滿意後，稍微把鋸齒線條弄淡些，然後加一些毛髮來完成眉毛。介於整齊與混亂之間的細線，同樣適用於眉毛毛髮。畫出單獨的毛髮時，筆觸要盡量快。最好使用略為彎曲的線條，線條要逐漸變細而且方向不要老是一樣，但同時依然要注意毛髮的生長方向。
睫毛
這是最後一個但同樣重要的步驟，這裡有個小挑戰。睫毛通常要多嘗試幾次，做一點練習。一些小訣竅或許會讓這個任務簡單些：睫毛長在第二條或說外眼瞼線上。眼睛外緣的睫毛通常比較長。下睫毛比上睫毛短，接近中間時，通常變得很細，幾乎看不見。此外，眼睫毛永遠是彎的。彎曲的方向取決於你對眼睛曲率的看法。意思是，曲線往眼睛中心逐漸減小，而睫毛在眼睛兩側往反方向彎曲。這聽起來可能頗複雜，但其實看圖很容易理解。
畫睫毛時，運用兩步驟流程會很有幫助：首先，每個眼皮只畫大約十根睫毛。特別注意所有睫毛都要以正確的角度彎曲。同時，注意長度，讓睫毛像眉毛一樣逐漸變細。第二步，在原始睫毛間的空隙插入「混亂的睫毛」，這裡用灰色顯示。稍微改變曲線的長度和方向，偶爾讓幾根睫毛聚在一起，形成一小群。
根據轉頭的方式，睫毛的方向也會改變。這可能需要稍微做一下空間思考。慢慢來。仔細想一想睫毛要指向哪個位置。
完成
十分具有挑戰性的教學就到這裡結束。你不用馬上消化並運用我們今天教的所有內容。但是，在本教學中，你幾乎可以找到所有繪製眼睛所需的訣竅。你絕對會拿起一兩個來試！
祝你畫得開心，下次教學再見！
劇透警告：我們剛才煞費苦心勾勒出來的眼睛，會在下一個教學中直接消失在鼻子後面。
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