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目の描き方についてご紹介します。描き方は一つではありませんが、どんな描き方でも使えるポイントやコツがあり、ここではそのような技術やスキルを磨くのに役立つヒントをご紹介し、楽しく学べるように解説します。
1. 目の描き方 ― 眼球について理解する
コミックタッチの目
初めて顔を描くときに、2つの点や線で目を表現したことがあると思います。何度か描いていくうちに、円の中心に点を描いた目になったのではないでしょうか。この簡略化した表現は、実は目の本質をかなり的確に捉えています。目は2つの球体で、球体には視線を示す瞳孔があります。次のステップで、目で感情を表現することに挑戦します。目の基本となる円形の内側に上まぶたを追加します。まぶたを上げると「怒り」や「不機嫌」な印象を、まぶたを下げると「悲しみ」や「おとなしい」印象になります。
この基本的な目の表現方法はマンガ、アニメの定番です。このようなコミックタッチの目でも、様々な感情を十分に表現できます。一見単純な形で表現されているように見えますが、描き手が熟考を重ねたうえで、この目の形に行き着いたことが分かります。このことを念頭に入れて、次のステップに進みましょう。
An Eyeball is a Sphere
First, let's try to understand the actual structure of the eye. Understanding the structure doesn't mean that every drawing has to have all the details of the eye. You will need to decide for yourself which details you want to emphasize, and which aspects you want to leave out. Your own style will develop out of these choices.
But now to the structure of the eyes:
As we know, the eye is a ping pong ball sized sphere sitting inside the head. So, let's get started by drawing this sphere. By giving the sphere horizontal and vertical axes, we show that it is not merely a circle, but a 3-dimensional sphere that is, in this case, turned slightly to the left and up. When you draw in the two axes, make sure that they are ellipses that end at exactly half the height or half the width of the circle.
Pupil and Iris
Viewed from the front, the iris is about half the size of the whole eyeball. The size of the pupil varies from person to person, and it also depends on the light situation and the mood. In addition, the iris is not painted flat onto the eyeball. Rather, it is raised a bit like a contact lens would be. When we draw an eye from the front, we don’t need to worry about this detail. But, the farther the eye is turned, the more prominent this iris “bump” becomes. Technically, the pupil is not actually a black dot, but a small hole through which light enters the eyeball. It is centered behind the iris lens, instead of on top of it. That's why when an eye looks to the side, you’ll move the pupil a little bit towards the center of the eye.
The picture shows the eye turned in three directions. Notice what happens to the iris and pupil:
- the iris becomes narrower, more elliptical
- the outward curvature of the iris becomes more pronounced as it moves to the side.
- the pupil is no longer centered in the iris, but moves a bit towards the center of the eye.
アーモンド型：上級
次に、アーティストが描いている「目」とは、どのような形なのかを見ていきましょう。一般に「目」と呼ばれているのは、上まぶたと下まぶたに挟まれて、眼球の一部が姿を見せている部分のことです。基本的に、まぶたの縁は向かい合った2つの平たいU字のような形をしています。このU字型をもう少し詳しく見てみましょう。
上まぶたのラインをさっと描くことのできるベテランでも、上まぶたを描く前に頭のなかで少し構想を練っています。まぶたのラインがほんの少しずれるだけで、顔の表情がまったく変わってしまうからです。ここで、まぶたを3分割するのがコツです（難しいラインを複数に分けて描く方法は、まぶたに限らずどの下描きにも使えます）。下まぶたも分割できますが、
ストロークは3画ではなく2画にするとよいでしょう。上まぶたは3分割、下まぶたは2分割にして描くと、目の表情に活気が生まれます。逆に、上まぶたを2画、下まぶたを3画のストロークで描くアーティストもいます。試してみてください。
中央寄りの部分（この図では右側）には、涙点と呼ばれる部分があります。
この形は顔によって様々で、涙点がまったくない場合もあります。
これで目の形の下描きができました。次は、分割したラインの角を少し丸くします。あるいは、上下のまぶたをそれぞれ滑らかな線で一筆で描くこともできます。
バリエーション
この5本線の考え方は、色々な場面で応用できます。ラインの長さや角度の違いにより喜怒哀楽を表し、目を豊かに表現できます。下描きのラインを元に好きなスタイルで描き進められますが、デザインの手法の一つとして、この方法もぜひ試してみてください。
Eyelids
Next, we should keep in mind that the two eyelids have a certain thickness too. On one hand, this makes the eyelids to protrude from the face a little farther than the eyeball when viewed from the side. On the other hand, a narrow edge will be visible all the way around, almost parallel to our 5 lines from before. If you might want to draw a crying eye at some point, you might be interested to know that tears collect on the narrow ridge of the lower lid. Neither area is always visible – it depends on whether we are looking at the eye from above or below, and on what the eye is doing.
Summary
The eyes – including the eyelids – can be constructed from every conceivable perspective in this way. Start with the sphere and imagine the eyelids wrapping around the sphere. Use the 5 lines to work out your basic shape. You will need to adjust the lengths and angles of your 5 lines depending on perspective. In some perspectives you may only need 2 or 3 of the lines because the rest are hidden behind the eyeball itself (e.g. in profile). At which points does the narrow area of the eyelids become visible? Which of the lines do you want to emphasize, which can be ignored? We will get into this in more detail below as we position the eyes on the face.
2. 顔に目を描く
Triangle
Now that we know all sorts of things about the eyes themselves, let's try to fit them into different headshapes. If you can already draw the headshape from different angles, then great! If not, I’d highly recommend the previous tutorial on "How to Draw a Human Headshape". I'll be using the same headshapes from that tutorial. These heads are a very handy starting point, but you don't necessarily need them.
In order to define the eye area, I like to start with the small, almost triangle-shaped area above the nose. As you can see, the triangle shortens when the head is looking down and lengthens when looking up. In profile, The triangle seen from the side simply becomes a line.
By the way, when you draw the triangle onto your headshape, you can use the guides at the center-line of the headshape for easy orientation.
The Batman Mask
Next, and very simplified, we want to define the shape of the bones around the eye, because they are very important. They protect our eyes from blows and soccer balls. ;) The easiest way to define the bones around the eye is to use the Batman mask. Our triangle serves as a starting point here.
Just like our eyelid construction, the Batman mask consists of 3 lines at the top and 2 at the bottom. Each of the outer edges meets the cut out areas of our headshape exactly. When you transfer the Batman mask onto the tilted heads, notice what happens to the angles, and which lines appear shortened. In profile we can see only part of the mask, of course.
Position of the eyeballs
The eyeballs are obviously not glued onto the front of the face. Instead, they are located quite deep inside our head. Therefore, in placing our spheres into the Batman mask, we have to offset them a bit. How big the offset depends on the perspective. You can see this particularly clearly with the head tilted up. In profile we see this very easily. From the front, the depth of the eyeballs isn’t visible at first.
There is no general rule about how far apart the two eyeballs have to be. But if you are not sure, just think of a third sphere (or a little more) between the two eyeballs. This will give you a good distance.
Pupil and Iris
Never underestimate the importance of what we learned earlier about the pupil and iris. Even a tiny bulge in the iris can enhance the realism of your eyes. From the front of course, you don't need to embellish. But as soon as the eye is not looking straight on at the viewer, remember to curve the iris and the deepen pupil.
Eyelids 1
Now let’s get to the eyelids. First, mark each of the two outer edges of your eyes level with the headshape guide lines. Then, draw in the pentagon. If you have already constructed the spheres neatly, everything else almost draws itself. Here again subtle changes to the angles and lengths on the sides can be made depending on how you’re viewing the headshape. When the views are pushed to extremes, the pentagon might also form interior angles, such as here in the picture with the two heads looking up and down respectively. In profile, the iris covers half the pentagon.
Eyelids 2
The second eyelid line is a nice way to emphasize the perspective you decided to depict the face from. Pay close attention to which parts of the narrow eyelid surfaces are facing the viewer. They will be thicker than the others. For example, with the head looking up, only the upper eyelid is visible. But then with the head turned to the side, different areas of the eyelid surfaces become visible around each of the eyes.
Eyelid Crease
The two eyelid creases are the boundary between the eyelid and face. The upper crease in particular lends your eyes increased depth. Here, you can use the sphere as a guide. It's also worth holding on to the subdivisions from the eyelid design at this point. If you don't want your face to look old or tired, draw the lower eyelid crease a little softer and shorter than the upper. You can even hint at it just slightly.
Eyebrows
Eyebrows tend to express the mood of your face very clearly. In a neutral, resting state, the eyebrow starts at the top of the triangle, rises slightly, and then tapers down again. The edge of the eyebrow is again the cut out areas like in the original headshape design.
It's best to define the shape of the eyebrows with outlines first. This will simplify later steps. You can also indicate the direction of hair growth with small lines within the brow shapes. Start in the middle with steep lines, and flatten them out closer to the edges.
3. 目の描き方 ― アウトラインの仕上げと質感
Outlines
We can now finally harvest the fruits of our labor. From here on, your own style input is necessary. Every draftsperson has their own unique lines and handwriting. Maybe you’d prefer a more sketchy style, or maybe you want to start working with surfaces or colors straight away. Naturally, this is entirely up to you. From this point on, you have a ton of opportunities to develop your image. But since we're not talking about different styles or coloring in this tutorial, let's develop our eyes using entirely clean lines.
As you can see, the two upper eyelid lines can also be combined into a single thick line. This is especially true if you want to create a shadow. For the lower eyelid, it's a good idea to use the outlines a bit more sparingly, because usually shadows do not occur here when the light source is from above.
Iris and Pupil
For the iris and pupil, I am going to give you a simple (but very effective) solution when using a graphic tablet: Reduce the opacity of your brush to about 30% in order to paint the iris. This is easier if you use a brush that is just a touch smaller than the iris itself. Next, let’s give the iris a little sparkle by reducing the brush size and hardness to lighten the center of the iris with white. Now you can fill the pupil in black. Of course, make sure that you offset it a bit from the center of the iris, depending on the view angle. Now you can use white again to set a light reflection point. Preferably, this will be slightly offset from the pupil. It doesn't always have to be a dot. You can experiment with different shapes. To add a final touch to the iris, show the shadow on the upper lid that it casts on the iris. And if you like, you can also throw in a little more detail to the structure of the iris by drawing (preferably on a separate layer) subtly alternating black and white lines from the pupil to the edge of the iris. But – just little tip – only make this effort if the eyes you are drawing are actually big enough to be able to notice this level of detail.
眉
少しの工夫で、のっぺりと塗りつぶされた眉をリアルに描くことができます。ここでは指先ツールやぼかしブラシを使います。このようなブラシは、必ず眉毛の向きと同じ方向にさっと流します。はっきりしていた直線が、軽くぼやけたラインになります。ギザギザがきっちりすぎたり、乱れすぎたりしないように気をつけましょう。納得のいく形になったら少し色の明度を上げ、細かい毛を描き足して眉を仕上げます。ここでも適度な乱れ加減になるように、細かいラインを描き込みましょう。できるだけ素早いストロークで眉毛1本1本を描きます。眉毛の生える方向を意識しつつ、こまめに向きを変えながら描くとよいでしょう。なだらかな曲線を描きながら先細りするラインにします。
まつげ
まつげも手強いパーツで、練習や何度か試す必要があります。まつげはまぶたを縁取る二重線の外側のライン上に生えているのがポイントです。また、まつげは目尻に向かうほど長くなっています。下まつげは上まつげよりも短く、目頭に向かうにつれて細くなり、ほぼ見えなくなることがよくあります。まつげは、どれもしなやかな曲線を描きます。まつげの曲線の向きは、目の膨らみをどこから眺めているかにより変わってきます。目の中心に向かうほどカーブは緩くなり、目の両端ではまつ毛は反対方向にカーブします。説明ではわかりにくいかもしれませんが、この例を見るとわかりやすいかと思います。
まつげを描くときは、2つのステップに分けるとよいでしょう。最初のステップとして、10本ほどのまつげを描きます。すべてのまつげが適切な方向にカーブするように慎重に描きます。長さにも注意し、眉毛と同じように先が細くなるように描きます。次のステップでは、描いたまつげのすき間に「乱れまつげ」を描きます（ここではグレーで表しています）。長さや曲がる方向を少し変え、ところどころに数本のまつげが密集したところを作ります。
頭の向きが変わると、まつげの向きも変わります。少し考えないと空間の広がりが捉えられないかもしれませんが、慌てずに、どの向きにするか慎重に考えましょう。
完成
なかなか難しいテーマでしたが、チュートリアルは以上です。この内容を今すぐマスターして、使いこなせるようになる必要はありませんが、練習を重ねるうちに、このチュートリアルには目を描くために必要なヒントがほぼ網羅されていることがわかってくると思います。一つでも二つでも、何かコツがきっと身につくはずです。
ぜひ、試してください。では、次回もまたお楽しみに！
最後にネタバレになりますが、次のチュートリアルの予告。今回せっかく描いた目も、場合によって鼻の後ろに隠れてしまうようなイラストを描きます。
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ワコムについて
ワコムではその企業理念として、人々がテクノロジーを自然に利用できるようなインタフェースを提供することで、人とテクノロジーの架け橋となることを追求しています。この理念のもとに、ワコムはインタラクティブに使用できるペンタブレットやペンディスプレイ、デジタルペン、電子サインの保存・処理ソリューションの分野を世界的にリードするメーカーとなっています。ワコムの直感的に使用できる入力デバイスの高度なテクノロジーは、今最も注目されるデジタルアート、映画、特殊効果、ファッション、デザインなどの制作において世界中で使われています。また、ビジネスからホームユースまでのさまざまなシーンでユーザーの個性を表現するための最先端インターフェース技術を提供しています。ワコムは1983年に日本で創業されて以来（東証1部：コード 6727）、世界的に事業を展開するメーカーとして成長してまいりました。現在、150ヶ国以上における製品の販売や流通を支えるために世界各地に子会社や関連会社を設けています。