In the process of painting figures, as the core carrier of image, temperament and demeanor, the importance of "eyes" is self-evident.
Don't be dissuaded by the different styles of painting and the ever-changing image characteristics, the structure of the eyes has a unified theoretical basis.
The following will sort out and classify the core knowledge points for you, and explain in detail the painting skills of the "human eye" structure from the basic logic of painting. If you clearly understand and master the following 4 parts, you will be able to effectively improve your ability to shape your eyes.
The content covers a lot, let's talk about it in turn
Part 1 - Basic Shapes and Transformations
Basic shape] As shown in the figure, the basic shape of the eye is cycled according to 4 key points: "the head of the eye to the high, the tail of the eye to the low".
Painting style deformation] As shown in the figure, in different painting style environments, the structure of the eyes is either deformed or simplified, and it still corresponds to the basic shape.
Deformation] As shown in the figure, the opening and closing of the upper and lower eyelids and the shape will change accordingly for different expressions;And the state of the two eyes is not necessarily the same.
part2 - position proportion
As shown in the figure, the conventional concept is not to be repeated, but it is worth emphasizing that this is only a benchmark interval and not a definite formula.
Size range] The proportion of eye size for different images and painting styles is relatively flexible.
part3 - symmetry and asymmetry
Symmetry] As shown in the figure, the eyes are basically seen as a "mirror symmetry" structure in a relaxed state (in real cases, large and small eyes are the majority), and only the pure "frontal" perspective is applied in the painting process.
Obviously, it is precisely because of the "asymmetrical" needs in most cases that the eye structure has become a new difficulty. Not Afraid is nothing more than a supplement to the following two basic concepts.
Lateral deflection] As shown in the picture, the face is deflected as a whole, so the shape of the two eyes is not the same, so the painted eyes should not look at the left and right mechanically, but understand the structural difference between the "head of the eye and the tail of the eye".
Near, large, far, small] As shown in the figure, the eye should also meet the framework of perspective to achieve the overall fit with the head structure;However, due to the close distance, it is not appropriate to make an overly obvious proportional difference.
Part 4 - Periocular structures
In addition to the eyeballs and eyelids themselves, the relevant structures around the eyes should also be "matched" as a whole.
Eye sockets] Understanding facial structure is not about "skin", but about "bone phase";As shown in the figure, the protruding "eyebrow bone + cheekbone + nasal bone" surrounds the inverted "eye socket", and the surrounding structures have a position to rely on.
Eyebrows] The different eyebrow shapes as shown in the picture are just personalized shapes;The position of the eyebrows is determined according to the position interval of the "brow bone", and the specific state of each eyebrow is adjusted with the change of expression, which is integrated into the whole set of demeanor system.
The shape of the eyes is ever-changing in the expression of different painting styles and different imagesHowever, the structure of the eyes follows the same basic shape, and the process of painting is also an operation of seeking common ground (standard) and reserving differences (individuality).