#Eye sketch color full#

#Eye sketch color full#

The effect grows when the expression is preceded or succeeded by a contradictory movement to show the full range of squash and stretch.įacial muscles are your best friend! Even just slightly indicating them can instantly strengthen the expression. Bringing eyebrows down to the eyes makes a strong expression. Sometimes it can help to exaggerate the eyebrows even if it might stray away from a realistic approach. Making the features work together helps to enhance the readability of the intended emotion.Įyebrows are a very powerful tool to show emotions. The eye mask is also easier to imagine in different angles. Imagining an eye mask can help to unify the features around the eyes so that they don’t just float on the face. This indicates a strong change of direction to where the head is facing before it turns into a full profile. Turning it more reveals there is no space between eye and eye bridge. When the head is turned away in semi profile you might only see the tip of the eyebrow and eyelash. Stylised approaches might leave out some anatomical details, but the shape should still act like the realistic eye in order to achieve a 3-dimensional result. Keep the thickness of the eyelids in mind. The pupil moves on a sphere, not on a straight plane.Įspecially when drawing eyes from a ¾ view it is important to imagine the spherical space they move on. Don’t be afraid to break up the eye shape to make it dynamic. The form of the eye changes when the pupil moves. The front area of the face is a little bent and the eyes appear slanted. This is the basis to make the eyes look 3-dimensional and imagine them from various angles.įrom other angles eyes might appear flat if drawn in a straight line.

Even when the eyes are bigger, a structure that can be imagined in a 3D space should be established. Stylised proportions are derived from realistic ones so the pointers can still be applied and deformed depending on the style. Human faces are not perfectly symmetrical.įrom the side view, the positioning inside the eye socket makes the eye seem tilted. Keep flipping the drawing horizontally until both ways look right. Due to bangs or sideburns the distance might appear smaller.ĭon’t worry too much about symmetry. In the front view, the eyes are one eye apart from each other and one eye apart from the edge. Usually, the pupils are sitting on the midway line.Įyes are a good tool to measure the proportions of the face. Ruck’s website features galleries of originals, smaller works, and prints.In an average realistic adult face, the eyes are in the middle of the face. It was at a gallery opening at the studio that I had a chance to talk with her briefly and where I have seen a number of her originals over time.

She is also a member of the “The Studio Group”, a group of women artists who maintain and exhibit in the Howard Pyle Studio, where influential painter, teacher and illustrator Howard Pyle worked and instructed many of America’s most revered illustrators, including N.C. Ruck works in watercolor and ocassionally gouache and is a signature member of the Philadelphia Watercolor Society. I particularly enjoy her portrayals of old trees with interesting shapes and lots of character, and her use of texture and value. Kathy Ruck is a painter based in Chester County in southeastern Pennsylvania.Ĭhester County - as the locals will proudly tell you - is “Wyeth County” and Ruck finds inspiration not only in the work of the Wyeth family, but in the countryside in which they also found many of their subjects.Ī number of her pieces are dramatically horizontal, even “cinematic” in their aspect ratio, a format that I find appealing and one that is well suited to her subjects.