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Construction Of The Eye

The Art Of Painting - Construction Of The Eye - 2, a brief series of articles on the art of painting and drawing
 
 
Still less does he appear to perceive that the pupil is a superposed swelling on the ball of the eye, and that therefore the lids are widest apart at the point where the pupil is seen, except of course where it is turned to either corner of its setting. But even in the corners of the eye its fullness makes itself felt.
TWO EYES OF A MAN

Be careful in drawing the eye in the full face that the inner corners are in a line with each other at their respective distances from the bridge of the nose, whatever inclination may be given to the head ; and that they run in a fairly parallel line with the other features. I say fairly because, as I shall point out presently, few faces are symmetrical. But for the purpose of this part of the lesson we must imagine a certain regularity of the features we are considering.
A very common failing, not only on the part of the beginner, is to show too much of the further eye in the nearly profile and less-than-three-quarter faces, for foreshortened passages always appear wider than they actually are. Not enough is allowed for the setting back of the eyes behind the bridge of the nose. The way to correct this tendency is, first of all, to believe your own eyes (which is not so very easy when we think we know better); to remark the actual distance (if any) between the pupil and the part of the nose that cuts across the eye, the actual space between the nose and the outline of the cheek, and similarly by the mouth, not forgetting to nearly close your eyes, and thus reducing the whole of the side of the face beyond the nose to the flat.



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