Step1: When the head turns from a front view to a three quarter view, the eye turns too, of course, and its shape changes. If the sitter is looking straight at you, the iris moves to the side, as you see here. Once again, the artist begins with quick, casual lines. He draws the main contours of the eyelids. Iris, and eyebrow, with a slight suggestion of the eye socket along the side of the nose. Have you noticed the straight, horizontal line that crosses the eye? That’s the guideline that the artist has drawn across the egg-shaped head to locate the eyes.
Step 2: The artist goes over the lines of step1 with darker, more precise lines. The curves of the eyelids are define more carefully, the disc shape of the iris is drawn more precisely, and the pupil is added. In the three-quarter view, the eye doesn’t seem quite as wide as it does in the front view. But the curving shapes of the lids are essentially the same. From the outer corner, the top lid begins as a long, flattened curve and then turns steeply downward at the inside corner. Conversely, the lover lid starts from the inside corner as a long, flattened curve and then turns sharply upward at the outside corner.
Step 3: The artist begins to suggest the distribution of tones with clusters of parallel strokes. These broad strokes are made with the side of the pencil lead, rather that with the sharp tip. Notice how the strokes tend to curve around the contours of the eye sockets. The shadowy edges of the lids are drawn carefully. Once again, the artist indicates the shadow that’s cast across the eye by the upper lid. The pupil is darkened. The eyebrow is darkened slightly, but the strongest darks are saved for the final step.
Step 4: The artist blackens the pupil, darkens the iris, and strengthens the shadowy edges of the eyelids. More groups of parallel strokes made by the side of the lead—curve around the eye socket to darken the tones and make its shape look rounder. On the white of the eye, a touch of shadow is added at the corner. Long, graceful lines suggest the hairs of the eyebrow, while short, curving lines suggest eyelashes. And eraser picks out highlights on the pupil. Compare the soft, rounded character of this female eye with the more angular male eye on the preceding page.
Step 2: The artist goes over the lines of step1 with darker, more precise lines. The curves of the eyelids are define more carefully, the disc shape of the iris is drawn more precisely, and the pupil is added. In the three-quarter view, the eye doesn’t seem quite as wide as it does in the front view. But the curving shapes of the lids are essentially the same. From the outer corner, the top lid begins as a long, flattened curve and then turns steeply downward at the inside corner. Conversely, the lover lid starts from the inside corner as a long, flattened curve and then turns sharply upward at the outside corner.
Step 3: The artist begins to suggest the distribution of tones with clusters of parallel strokes. These broad strokes are made with the side of the pencil lead, rather that with the sharp tip. Notice how the strokes tend to curve around the contours of the eye sockets. The shadowy edges of the lids are drawn carefully. Once again, the artist indicates the shadow that’s cast across the eye by the upper lid. The pupil is darkened. The eyebrow is darkened slightly, but the strongest darks are saved for the final step.
Step 4: The artist blackens the pupil, darkens the iris, and strengthens the shadowy edges of the eyelids. More groups of parallel strokes made by the side of the lead—curve around the eye socket to darken the tones and make its shape look rounder. On the white of the eye, a touch of shadow is added at the corner. Long, graceful lines suggest the hairs of the eyebrow, while short, curving lines suggest eyelashes. And eraser picks out highlights on the pupil. Compare the soft, rounded character of this female eye with the more angular male eye on the preceding page.
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