The Portrait chapter 11
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THE EYE
This image of an eye, which is the right eye from the portrait on the previ-
ous page, is a good example of an eye to study. It clearly demonstrates the
form of the eye because the vantage point is shown from below.
The compound curvature of the eye is clearly visible from this angle—both
horizontally and vertically. Even when an eye is rendered from a straight-
on vantage point, it creates the illusion of the roundness of the eye. The
eyelids can be thought of as bands of flesh that holds the eyeball in the
eye socket. Because the eyelids follow the curvature of the eyeball, they
have to be shaded accordingly. If you shade the eyelid with the same tone
all the way across the lid, it appears flat and, in turn, flattens out the form
of the entire eye. You will notice where the light source is coming from,
based on where the highlight is placed on the eyeball and how all of the
other shading of the eye corresponds to that highlight.
In this simplified drawing of the eye
(without shading), the eyelids conform to
the eyeball, and the eyeball is nestled in
the eye socket (a).
This diagram (b) is designed to show the
compound curvature of the eyeball and
eyelids. Always keep this in mind when
drawing an eye from any angle.
In this profile of the eye, notice how the upper lid and lashes protrude far-
ther than the lower lid, effectively creating an awning to protect the eye.
This is why when the head is lit from above, the upper lid receives more
light than the lower lid and often creates a cast shadow on the eyeball. It
is also clear, based on their different angles, how eyelids conform to the
curvature of the eyeball.
First Portrait
a b