These are my first attempts at properly drawing, so be kind. Forgive me too if they are at a weird rotation :x
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Full Version: Eyes, noses and mouths - crit needed :)
Taken from a few reference images online, I drew these with a HB and a 2B pencil.
These are my first attempts at properly drawing, so be kind. Forgive me too if they are at a weird rotation :x
Click to view attachment
Click to view attachment
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These are my first attempts at properly drawing, so be kind. Forgive me too if they are at a weird rotation :x
Click to view attachment
Click to view attachment
Click to view attachment
Excellent observation, especially with the mouths. Your proportions are really nice.
Try another set, but this time, try to do it without drawing any lines. Seriously. Try to draw the same images using only shading. OK, sure, you can draw a few lines to get started, but make sure they're invisible by the time you're done.
Try another set, but this time, try to do it without drawing any lines. Seriously. Try to draw the same images using only shading. OK, sure, you can draw a few lines to get started, but make sure they're invisible by the time you're done.
Thanks buddy! I'll try without the lines but it's an old habit. It's gonna die hard! 
I'm with Ernest, these show good observation and proportions, so we can move the bar up for you a bit, because you're going to be good at this 
Which is why its all the more important to break it, Aaron
Try to work entirely by shading - shade across the form rather than along it - in other words, every time you think you see a line, shade at 90? to it instead. (it helps to try drawing something big, to get the feel for this)
Try to think of things in terms of them being areas of a given degree of lightness or darkness (these are called brightness values )- and that the borders of those areas are generally steps up or down in value (or sometimes in colour) rather than lines.
Lines result from our tendency to equate what we see by eye with what we feel by touch - they are a symbolic representation of the feeling of touching an edge, trying to find the closed edge round something. What we see are generally areas of different brightness adjacent to each other.
Dave
QUOTE
I'll try without the lines but it's an old habit.
Which is why its all the more important to break it, Aaron
Try to work entirely by shading - shade across the form rather than along it - in other words, every time you think you see a line, shade at 90? to it instead. (it helps to try drawing something big, to get the feel for this)
Try to think of things in terms of them being areas of a given degree of lightness or darkness (these are called brightness values )- and that the borders of those areas are generally steps up or down in value (or sometimes in colour) rather than lines.
Lines result from our tendency to equate what we see by eye with what we feel by touch - they are a symbolic representation of the feeling of touching an edge, trying to find the closed edge round something. What we see are generally areas of different brightness adjacent to each other.
Dave
QUOTE (dcorc @ Jan 13 2010, 06:01 AM) 
I'm with Ernest, these show good observation and proportions, so we can move the bar up for you a bit, because you're going to be good at this
Which is why its all the more important to break it, Aaron
Try to work entirely by shading - shade across the form rather than along it - in other words, every time you think you see a line, shade at 90? to it instead. (it helps to try drawing something big, to get the feel for this)
Try to think of things in terms of them being areas of a given degree of lightness or darkness (these are called brightness values )- and that the borders of those areas are generally steps up or down in value (or sometimes in colour) rather than lines.
Lines result from our tendency to equate what we see by eye with what we feel by touch - they are a symbolic representation of the feeling of touching an edge, trying to find the closed edge round something. What we see are generally areas of different brightness adjacent to each other.
Dave
Which is why its all the more important to break it, Aaron
Try to work entirely by shading - shade across the form rather than along it - in other words, every time you think you see a line, shade at 90? to it instead. (it helps to try drawing something big, to get the feel for this)
Try to think of things in terms of them being areas of a given degree of lightness or darkness (these are called brightness values )- and that the borders of those areas are generally steps up or down in value (or sometimes in colour) rather than lines.
Lines result from our tendency to equate what we see by eye with what we feel by touch - they are a symbolic representation of the feeling of touching an edge, trying to find the closed edge round something. What we see are generally areas of different brightness adjacent to each other.
Dave
Thank you so much Dave! I'll get practising, gotta work on giving my lines a break
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