How to Draw a Nose

Корак по корак

1. Корак 1

   Draw the wedge: a long triangle from the brow down to the tip.

   A nose is a wedge coming off the face, and everything else attaches to it. Draw it as a solid you could pick up rather than as a shape on a surface - this is the mental switch that the whole lesson depends on.

   Пази. Drawing the nose flat against the face rather than projecting out from it.

   Пров› јери You should be able to point to the front plane and the side plane separately.

2. Корак 2

   Add a ball at the tip.

   The tip of a nose is a small sphere, and the two wings are attached to it. Getting the ball placed and sized correctly does more for the likeness than any amount of care on the bridge, because the tip is what people actually look at.

   Пази. Making it too small, which gives a pinched, artificial nose.

   Пров› јери The ball should be about a third of the nose's total width.

3. Корак 3

   Add a wing on each side of the ball.

   The wings are the flared sides of the nostrils, and they sit lower and further back than the tip - in three-quarter view the far one is mostly hidden. They curve down and around rather than sticking straight out.

   Пази. Drawing both wings the same size in a three-quarter view.

   Пров› јери The far wing should be noticeably smaller than the near one.

4. Корак 4

   Draw the underside as its own plane.

   The bottom of a nose faces downward, which means it is always in shadow and it is a shape you can draw - roughly a flattened triangle between the two wings. Beginners leave this plane out entirely and then wonder why the nose looks flat.

   Пази. Treating the bottom of the nose as an edge rather than a surface.

   Пров› јери You should have a distinct area that reads as the underside.

5. Корак 5

   Place the nostrils as comma shapes, angled outward.

   Not circles, not dots. A nostril is a comma with its thick end toward the front, tilting outward and backward, and it sits on the underside plane rather than on the front of the nose.

   Пази. Drawing round nostrils facing forward, which looks like a pig.

   Пров› јери Both nostrils should be inside the underside plane.

6. Корак 6

   Erase the outline on the shadow side.

   Yes, really. The side of a nose has no line on a real face - it is a soft transition in value. Losing the line now, before you shade, forces you to rebuild that side with tone, which is the only thing that works.

   Пази. Keeping the outline 'just as a guide' and then never removing it.

   Пров› јери One long side of the nose should have no line at all.

7. Корак 7

   Shade the whole side plane in one even mid tone.

   One value, laid in one direction, edge to edge. Do not try to model it yet. Establishing the flat plane first and softening later gives you a nose with structure; blending from the start gives you a smudge.

   Пази. Blending immediately, which loses the plane change you are trying to show.

   Пров› јери The side should read as one distinct tone against the front.

8. Корак 8

   Leave the bridge as the lightest area.

   The top plane of the bridge faces up toward the light, so it stays near white. That untouched strip is what tells the viewer where the nose projects from the face, and it costs nothing except restraint.

   Пази. Shading across the bridge to 'tie it together', which flattens the whole nose in one stroke.

   Пров› јери There should be a clean light strip running down the bridge.

9. Корак 9

   Put the darkest values under the tip and in the nostrils.

   These are the two darkest notes on the nose, and they should be about equal. If the nostrils are much darker than the shadow under the tip, they read as two holes punched in the face rather than as openings.

   Пази. Nostrils far darker than everything around them.

   Пров› јери Nostrils and the shadow under the tip should be similar in darkness.

10. Корак 10

    Add the cast shadow on the lip below.

    A nose casts a shadow downward onto the area above the lip, and its shape follows the underside of the nose. This shadow is the only thing separating the nose from the mouth - without it, the two features fuse.

    Пази. Omitting it, or drawing it symmetrical when the light is from one side.

    Пров› јери The shadow should be offset to the side away from the light.

11. Корак 11

    Soften the edge between the side plane and the front.

    Now, and only now, blend. That transition is soft on a real nose - but soft is not the same as absent, so blend it partly and stop. Beginners either leave it hard or erase it completely, and both look wrong.

    Пази. Blending until the plane change disappears entirely.

    Пров› јери You should still be able to see where the plane changes, just not sharply.

12. Корак 12

    Add a small highlight on the tip and on the near wing.

    Two small highlights, not a shiny stripe. The tip catches the most light because it projects furthest; a smaller one on the near wing confirms the form. Keep them the size of a pencil-tip, not a coin.

    Пази. One large glossy highlight, which makes the nose look wet.

    Пров› јери Both highlights should be small and on the same side.

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.