How to Draw Lips

Корак по корак

1. Корак 1

   Draw a light horizontal guide and a vertical centre line.

   Lips are close to symmetrical and the eye is unforgiving about it, so the centre line is not optional here. The horizontal marks where the two lips meet.

   Пази. Working without guides because the subject looks simple.

   Пров› јери The two lines should cross at the middle of your page.

2. Корак 2

   Draw the line where the lips meet - a wave, not a line.

   This is the most important mark in the drawing. It dips slightly at the centre under the cupid's bow, rises on each side, then turns down into the corners. Draw it slowly and get it right; everything else is placed relative to it.

   Пази. Drawing it straight or as a single smooth curve.

   Пров› јери It should change direction at least three times.

3. Корак 3

   Mark the corners of the mouth and how far apart they are.

   Mouth width is the proportion people get wrong most often on a face - it is wider than you think, roughly reaching the centre of each eye. Marking the corners now stops the lips creeping inward as you draw.

   Пази. Drawing the mouth too narrow.

   Пров› јери Both corners should be the same distance from your centre line.

4. Корак 4

   Draw the cupid's bow: two shallow curves meeting at a dip.

   Not a sharp M. The two peaks are rounded and the dip between them is shallow, and on most faces the whole thing is subtler than the version in your head. Keep it inside the middle third of the mouth's width.

   Пази. Making it too pointed and too wide.

   Пров› јери The peaks should sit within the middle third of the mouth.

5. Корак 5

   Run the upper lip edge from the bow out to each corner.

   It thins as it goes. The upper lip is thickest at the centre and almost vanishes at the corners, and drawing it at even thickness the whole way is what produces the drawn-on look.

   Пази. An upper lip of constant thickness.

   Пров› јери The upper lip should be visibly thinner at the corners.

6. Корак 6

   Draw the lower lip as one full curve.

   The lower lip is fuller than the upper - commonly about half again as deep - and it is a single continuous curve rather than two halves. Sweep it in one motion from corner to corner.

   Пази. Making the two lips the same depth, which reads as a cartoon.

   Пров› јери The lower lip should be clearly deeper than the upper.

7. Корак 7

   Darken the line between the lips until it is the darkest mark.

   Go over it and commit. That dividing line is in shadow at every point along its length, and it should be darker than anything else on the page. Timid here is the commonest reason drawn mouths look weak.

   Пази. Keeping it at the same weight as the outline.

   Пров› јери Squint. The dividing line should be the first thing you still see.

8. Корак 8

   Deepen the corners into small dark pockets.

   The corners of a mouth are recessed, so they are darker and softer than the line between the lips. A small dark note at each corner, fading outward, is what makes the mouth sit inside the face rather than on top of it.

   Пази. Ending the mouth line in a hard point.

   Пров› јери Each corner should fade out rather than stop sharply.

9. Корак 9

   Shade the whole upper lip a middle grey.

   It angles away from the light, so it is darker overall than the lower lip. Shade it evenly first and add the variation afterwards - trying to do both at once is how the upper lip ends up patchy.

   Пази. Leaving the upper lip as light as the lower.

   Пров› јери Upper lip clearly darker than lower, everywhere.

10. Корак 10

    Shade under the lower lip, and leave a highlight on top of it.

    The lower lip catches light on its upper surface and drops into shadow underneath, where it also casts a shadow onto the chin. That light-on-top, dark-underneath pattern is what makes it read as a rounded form rather than a shape.

    Пази. Two symmetrical highlights, which look like plastic. One, slightly off-centre.

    Пров› јери There should be exactly one highlight, off the centre line.

11. Корак 11

    Add vertical texture lines, in the shadowed parts only.

    Lips are lined vertically, and the lines follow the curve of each lip rather than running straight up and down. Put them where the lip is already darker and leave the lit areas alone - texture everywhere flattens the form you just built.

    Пази. Covering both lips evenly with lines.

    Пров› јери The highlight area should have no texture lines in it.

12. Корак 12

    Soften the outer edges until they nearly disappear.

    This is the step that decides whether the mouth looks drawn on or grown there. Go round the outline and lighten it, especially at the corners and under the lower lip. Keep only the dividing line strong.

    Пази. Leaving a crisp outline all the way round.

    Пров› јери From arm's length the outline should be hard to find.

13. Корак 13

    Go over the lines you want to keep, and lose the guides.

    This is the step that turns a construction drawing into a finished one, and it is the one most people skip. Press harder on the outline and the features; leave the small stuff light. That difference in weight is what makes a drawing look deliberate rather than traced, and it costs thirty seconds.

    Пази. Going over everything at the same weight, which flattens the drawing back out.

    Пров› јери The outline should be clearly darker than the smallest details.