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새로운 Wacom 스케치 수업에 오신 것을 환영합니다. 오늘은 여성의 얼굴을 그리는 법을 배워보겠습니다. 모두가 아시다시피 아름다운 광경이 될 것이고, 제가 가장 좋아하는 것 중 하나입니다. 물론 각 예술가의 스타일은 말할 것도 없고, 출신지, 나이, 귀의 개수 등에 따라 얼굴이 조금씩 다르게 보입니다. 가끔은 같은 얼굴이라도 아침에는 저녁때와 완전히 다르게 보일 때가 있습니다.
이 단계별 가이드에서는 전 세계의 초상화, 캐리커처, 만화 그리고 애니메이션 작가들이 사실적인 얼굴을 그릴 때 수년 동안 사용해 온 몇 가지 기본적인 가이드라인을 배웁니다. 물론 이 가이드가 필수적인 규칙은 아니며 모든 예술가들은 자신의 스타일에 맞게 조정하고 재해석할 수 있습니다. 여성 얼굴만큼 어려운 작업을 한다면 이 가이드를 염두에 두고 연습하는 것이 매우 도움이 될 수 있습니다.
이 강의에서는 상상 속에서 여성의 얼굴을 그리고 그것을 현실적으로 보이게 하기 위한 몇 가지 필수적인 트릭과 기술을 배웁니다. 머리 모양을 구성하는 것부터 시작해서 특징을 추가하고 마지막으로 얼굴을 미세하고 조정하고 색을 부여할 것입니다. 이 강의에서 영감을 얻고 향후 이 접근 방법을 스스로 사용할 수 있기를 바랍니다.
이 강의는 주로 초보자를 대상으로 하지만, 경험이 풍부한 예술가도 새로운 것을 발견할 수 있습니다. 또한 그래픽 타블렛을 사용하는 컴퓨터에서의 워크플로우과 디지털 장비의 장점에 대해서도 말씀드리겠습니다. 하지만 펜과 종이로도 강의를 따라할 수 있습니다.
그림을 그리면서 즐거운 시간 보내시고 좋은 결과가 있기를 바랍니다.
목차
여성 얼굴을 그리는 방법 A장: 기하학적인 모양
01 Begin with a circle
First, make a small construction drawing. With the help of some basic shapes, the head, eyes, nose and mouth can be positioned with ease.
We start with a circle. Drawing a circle is not the easiest thing in the world. If you don't succeed right away and your circle looks like a cubist potato, try to fix your wrist and sketch the circle from the rotation of your forearm. You can also - like me - try to approach the circle shape with several quick strokes. Don't worry if your construction drawing doesn't look very nice. You won't see it at all in the end.
02 Center axis
Now we sketch a straight line in the center of the circle. I call it "center axis", because left and right should be more or less symmetrical, as it is in faces.
03 Vertical guide lines
Time for some guidelines: Cut the circle with a horizontal line. We transfer this half circle height downwards to the extended central axis.
Within the circle, we cut each half in half again with two small lines. This way we have divided the circle into 4 parts and added another half circle height at the bottom.
04 One more circle
Now we need a smaller circle. Don't worry, we have almost finished construction. The small circle goes from the third line of division to the very bottom. So, it is ¾ as big as the big circle. We also mark the center of the smaller circle.
05 Cheeks
Construction finished. Time to draw the rest. Connect the two circles into a single shape. These joined circles will make up the skull and lower jaw as there are no bones sticking out, this should be pretty easy.
You can make the connecting lines straight or curve outwards, depending on how well nourished you want the face to look. The cheeks could also sink inwards if you want a gaunter look.
06 세로 위치 지정
이렇게 훌륭하게 그렸다니 너무 좋네요. 이제 모든 것이 정확히 어디에 위치해야 하는지 알 수 있게 되었습니다.
• 위쪽 4분의 1 선은 헤어라인입니다.
• 원 중간선.. 음, 이건 빼도 됐을 지도 몰라요. 하지만 경험 많은 예술가들은 압니다. 4분의 1을 만들려면, 먼저 반을 만들어야 한다는 것을요.
• 다음 선은 눈입니다. 네, 정말 낮게 있죠. 얼굴의 중간에 있습니다.
• 코는 첫 번째 원의 아래쪽 가장자리에서 정확히 끝납니다.
• 그리고 작은 원의 중심에 입이 있습니다.
07 Horizontal subdivision
In order not to draw eyes and mouth too wide or too narrow, we subdivide the face once again, this time horizontally. We cut each side in half, then half again. This gives us a total of eight equally wide parts.
The left eye extends from the second to the fourth dividing line and the right mirrors it on the other side. The pupils sit in the middle of the eyes at the third subdivision line, exactly in the middle of each half.
The mouth is about as wide as the distance between the pupils. Sketch a pair of eyes, a mouth and a small U-shaped line for the nose. This doesn’t have to be perfect, but be sure to define the corner points clearly.
08 Head shape
Now that we know where the eyes, mouth and nose are located, we can remove some of the guidelines. Keep the one for the hairline, we’ll need it again at the end. Now that we see the face for the first time, we can rework the head shape a bit. A woman's head shape is softer and less angular than males. Therefore, the outlines of the head shape should be drawn with softer curves.
We start with a U-shaped curve at the chin. Try to draw the chin as symmetrically as possible. The narrower the chin, the more feminine the face will look. But if the chin is too narrow, we might accidentally draw an alien.
When satisfied with the chin, start with a new line at the top of the forehead. First, follow the circle from our sketch. At eye level our head shape makes a barely noticeable dip inward. Once there, elegantly swing around the cheek and draw an almost straight line towards the chin, where our lines meet.
09. Mood of our face
Now to decide what state of mind our woman's face has. This depends primarily on whether the eyebrows and mouth are pointing up or down.I have decided on a satisfied, good-humored face. The mouth points slightly upwards, the eyebrows are relatively neutral.
10 End of the preliminary drawing
Our preliminary drawing is finished. I have indicated the areas for the eyebrows and sketched the lips a bit. But don't worry, we'll go into all the details right away.
여성 얼굴을 그리는 방법 B장: 얼굴의 세부적인 부분
다음 장에서는 얼굴의 세부적인 부분을 살펴보겠습니다.
11 Preliminary drawing as orientation
Place your preliminary drawing as a separate layer in the background and make it a little lighter so you can still use it as a guide, without it being too distracting.
12 The upper eyelid
The shape of the upper eyelid varies from person to person. Even small differences have a great effect on the appearance of a face. Basically, the upper eyelid (especially the female eyelid) describes a curve that rises relatively sharply and then falls off weakly. The easiest way to achieve this curve is to start from the outside.
13 The lower eyelid and the pupil
The lower eyelid describes a slightly flatter arc than the upper one. It does not start directly at the end point of the upper eyelid. The upper eyelid goes a little further outward. In addition, the lower eyelid can curve slightly upwards on both the outside and inside. In a laughing person, this outer curvature is particularly pronounced because the laugh muscles push the outer edges of the eyes upwards.
Depending on how important this facial characteristic is to us, we can draw this line several times.
Place the pupil so it lies against the upper eyelid. This creates the effect of the eye looking directly at us.
14 Iris and upper lid crease
The upper lid crease is the most romantic crease of the face. Eyelid wrinkles that touch the upper eyelid at certain points create different effects. For example, exaggerated, high eyelid creases create the well-known bedroom look. It is worthwhile to experiment with the upper eyelid crease, as it can express completely different moods.
The standard eyelid crease, when the eye is at rest, runs almost parallel to the upper eyelid. Since things are rarely exactly parallel in nature, the eyelid crease can move slightly away from the eyelid towards the middle of the line and approaches the middle of the face again.
Geometrically, the iris is a circle concentric to the pupil. It is about half as wide as the total area of the eye. Of course, we do not draw a complete circle, because the iris is covered by the eyelids at the top and bottom. It may be easier to draw a complete circle for the iris first, and to remove the covered parts after.
15 눈썹
눈썹은 나중에 머리카락으로 채울 부분을 스케치합니다. 이 부분은 바깥쪽을 향해 있습니다. 여성 눈썹은 남성 눈썹보다 약간 좁고 더 가파른 아치형일 수 있습니다. 하지만 조심하세요. 심각해 보일 수 있습니다.
눈썹의 털은 안쪽에서 45도 각도로 시작하여 바깥쪽으로 갈수록 평평해집니다. 빠른 스트로크를 많이 해서 털을 그리는 게 제일 좋습니다. 안쪽에서 시작하여 약간의 떠 있는 각도로 각 털을 그립니다.
디지털 시대에서는 펜 타블렛을 이용해 너무 많이 튀어나온 머리카락을 쉽게 지울 수 있습니다.
16 One more eye
You can also copy and even mirror things on your tablet. However, there were eyes and faces long before the digital age. And no two eyes ever look exactly the same. And last but not least: You have to practice!
17 Iris Texture
The eye and especially the iris are complex structures, made of many fine shapes and colors. We can approach this view graphically by drawing many fast alternating black and white fine lines from the pupil to the edge of the iris. We can also fill the iris with color later.
18 Reflection
The final touch is given to the eye by light reflection. This can be a simple white point, several points, a window or even a whole landscape. We achieve a pleasant effect with a simple shape that does not cover too much of the eye. We do not want to illuminate the whole eye. Less is more.
19 The mouth
The mouth is not a gently running line. The corners of the mouth, i.e. the outer edges of the line should be defined with a little more pressure or with small corner creases. A typical feature of the female mouth is the small curvature of the mouth crease in the middle.
I made the mouth a bit narrower than in the preliminary drawing, because it seemed more coherent to me.
Don't forget to always look at your drawing as a whole and check if everything is in its place. Maybe you want to change something? What can be improved?
20 Upper lip
Male and female faces also differ in the thickness and curvature of the lips. We start the upper lip as symmetrically as possible with two slightly ascending, quickly drawn strokes
from the corners of the mouth towards the middle. In the second step, we let the two strokes turn into a V with two steep curves.
21 Lower lip
The lower lip may be slightly thicker than the upper lip, but this is not a must. The line may become slightly flat towards the middle.
The mouth may end up looking a little like a sticker stuck on the face. To prevent this, just use a little drawing trick. Leave a gap between the lower lip line and the corners of the upper lip, let the line gently run out and point towards the corners of the mouth.
22 Nose tip
The nose is known to protrude furthest from the face. This may be a little easier to draw in profile, but in the frontal view it presents us with certain difficulties. As we only have two dimensions at our disposal, we have to work with something called ‘perspective shortening’. This can be a challenge especially for beginners, but we can avoid any problems by applying a simple formula: Draw the tip of the nose as a small horizontal line pointing slightly upwards. On both sides of the tip of the nose we continue with slightly outwardly curved strokes.
23 The nostrils
The nostrils start very close to the outer sides of the nose tip. They are almost horizontal at the lower end and point at the upper end in approximately the direction of the opposite inner eye fold.
Now we should check the face as a whole. Is the nose too large or too small? Too wide? Too narrow? You can change the nose until you are satisfied. Most graphics programs can also help you with the transformation tool.
24 Adjust head shape
Now that we have drawn all the important parts of the face, it is advisable to adjust the head shape one last time. In principle, we can transfer the head shape from the preliminary drawing to the final drawing in pretty much the same way. You may notice some spots that need changing slightly.
25 Two lines
Among many possible shadows and wrinkles that faces could have, I have chosen two that I like to use, especially on female faces.
One is the chin crease under the lower lip. It defines the chin and visually widens the mouth area.
Another is the cheek shadow (on the left). This is one of the typical features of a woman’s face. It usually takes a few tries to get the cheek shadow where it should be, so that the face doesn't look too bony or grinning.
26 Two boxes
Once again, this step is about determining a position. The ears stretch from the eyes to the tip of the nose. As we see the face from the front, the ears don’t appear round, but almost flat against the head. Draw two small, slightly V-shaped boxes.
27 귀
여성 얼굴의 큰 장점 중 하나는 보통 귀를 덮는 머리카락이 많기 때문에 귀를 굳이 그릴 필요가 없을 수도 있다는 것입니다. 귀는 여러 각도, 주름, 그림자가 있는 다소 복잡한 구조이므로 별도의 강의에서 더 자세히 설명해야 합니다.
따라서 그림을 통해 세 가지의 간단한 단계로 다소 추상적인 귀를 그리는 방법을 보여드렸습니다. 상자 두 개가 도와줄 겁니다.
다음 장에서는 얼굴에 머리카락을 그리고 색을 포함한 마무리를 할 것입니다.
여성 얼굴을 그리는 방법 C장: 머리 및 마무리
28 헤어라인
헤어라인 가이드를 지우지 않았기를 바랍니다. 헤어라인이 있다면 걱정하지 마세요. 나머지 얼굴을 관찰하여 머리카락을 배치할 수 있습니다.
머리카락은 귀와 마찬가지로 그 자체로 과학적이고 기본적으로 자체적인 튜토리얼이 필요합니다. 하지만 저는 단 몇 줄로 설명해보겠습니다.
헤어스타일의 꼭짓점과 바깥쪽 가장자리를 대략적으로 스케치하는 것으로 시작합니다. 나중에 머리카락의 예비 그림을 쉽게 숨길 수 있도록 별도의 레이어에 그리는 것이 가장 좋습니다. 가르마 라인은 헤어라인 보조 라인(여기서는 중앙에서 약간 오른쪽)에서 위로 가능한 한 우아하게 그립니다. 머리카락은 꼭짓점에서 양쪽 귀쪽으로 떨어집니다. 헤어스타일이 얼마나 루즈해 보여야 하는지에 따라 나란히 이어지는 여러 라인으로 헤어스타일을 제한할 수 있습니다.
29 The neck
Below the ears the hair reappears and falls down freely in several brisk strokes. On this occasion we can also indicate the neck.
While drawing the hairlines you will notice certain curves, curls or areas that you’d like to add to. Don't go into too much detail yet.
30 Falling direction of the hair
This step is not about drawing slow cautious lines, but about drawing the hair in a sweeping and brisk manner. Of course, we don't draw every single hair, but rather study the fall directions of the hair at the different places. Later we can define them with a few clear strokes. Hair grows in tufts, and within these tufts it all grows and falls in similar directions (not criss-cross). I've created several tufts of hair and hairstyle areas in the image quite arbitrarily. There are no limits to your imagination. Hair is always the fun part.
31 Final artwork of the hair
Once your hand gets used to the fast movements, lines, and curves of the hair strokes, it is much easier to define a clear, sweeping hairstyle. For the final drawing of the hair, it is recommended to use a separate layer again. Here we can orientate ourselves on the pre drawn hairstyle and later, as already mentioned, simply hide it. If necessary, we can also erase hair that is too long and protrudes into the face without erasing the face itself. It's worth experimenting with different line widths and degrees of coverage when drawing the hairstyle. In our picture I have emphasized the individual strands with a darker line, while within the strands the indicated subdivision lines are much lighter and less prominent. The most important thing when drawing hair is still the line speed. And fortunately, in digital drawing, any imperfect stroke can be undone until it fits.
32 Optional detail work
Of course, the possibilities for detail work are almost unlimited. Here are a few examples that can be fun:
• Adding another point of light in the eye.
• Texture the lips with the same technique as the iris.
• Adding a subtle shadow at the bottom of the nostrils.
33 보너스: 마지막으로 약간의 컬러
즐거운 시간을 보내셨길 바라며 앞으로의 드로잉에 도움이 될 만한 팁을 찾으셨기를 바랍니다. 물론 하나의 튜토리얼에서 창의적인 주제의 모든 측면을 다룰 수는 없습니다.
향후 다양한 관점에서 얼굴을 그리는 방법, 다양한 연령대의 얼굴, 세부적인 머리 - 코 - 귀, 얼굴 색칠, 몸의 다른 부위, 손 - 발 - 신체, 남성 얼굴 등과 같은 강의에서 더 많은 세부 사항과 변형을 살펴볼 것입니다.
이 튜토리얼은 예술가가 될 수 있는 견고한 토대를 제공하도록 설계되었습니다. 모든 예술 행위와 마찬가지로 결과는 규칙적인 연습에 달려 있습니다. 첫 그림이 마음에 들지 않더라도 좌절하지 마세요. 모든 그림이 더 나아질 거예요. 계속 그리고, 영감을 받고, 재미있게 즐기세요.
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Wacom One is ideal for bringing facial features to life. The natural surface friction and minimal reflection creates a pen-on-paper feeling on the 13.3” screen. The pen feels light and natural in your hand and transforms into a pencil, paintbrush or chalk in your selected software. It can even be used as an eraser. Perfect for refining the details to create lifelike faces. Creative software comes included, along with the ability to connect to your Mac or PC, as well as certain Android devices.
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