逐步教學:如何繪製女性面容

歡迎來到全新 Wacom 素描課。今天,我們要學的是如何繪製女性的臉。我們都知道,這個主題賞心悅目,也是我自己的愛好之一。當然,每張臉看起來都略有不同,這取決於人的血統起源、年齡、露出幾隻耳朵等,更不用說每位藝術家的風格差異了。有時即使是同一張臉,早上和晚上看起來也完全不同。

在本逐步指南中,我們將會學到多年來世界各地創作肖像畫、卡通人物畫、漫畫和動漫的藝術家們,在繪製寫實面容時所遵循的一些基本原則。當然,這些並非強制性規則,每位藝術家都能就其自身風格加以調整並重新詮釋。繪製女性面容是一項挑戰性十足的任務,勤加練習並牢記這篇指南絕對會有極大助益。

在本課程中,我們將依自己的想像繪製一張女性面孔,並學習一些必要的訣竅和技巧,讓畫看起來栩栩如生。我們將從建立頭形開始,然後加上特徵,最後再對臉進行微調和上色。希望本課程對你有所啟發,也希望這套方法能在今後的繪畫創作中為你所用。

本課程主要為初學者所設計,但老練的藝術家也可能得到新啟發。我也會談到在電腦上使用繪圖板的工作流程以及數位裝置的優勢。不過,你也可以用紙筆來跟課。

希望你畫得愉快,成果斐然。

目錄

如何繪製女性面容,A 章:
幾何形狀

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 縱向定位

看看我們大膽畫出來的結構多棒呀。因為現在我們確實知道所有部位的位置:

• 頂部四分之一處是髮際線。

• 圓的中心線 — 好吧,也許我們可以省略這個。但有經驗的藝術家都知道:要想取四分之一,就得先取一半

• 下一條線是眼睛位置。是的,眼睛位置確實就那麼低。它們位於臉部在縱向上的中間位置。

• 鼻子最下端正好壓在我們第一個圓的下緣。

• 而嘴巴就位於小圓的中心處。

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.

如何繪製女性面容,
B 章:臉部細節

在下一章裡,我們將對臉部進行細節處理。

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 眉毛

畫眉毛時,先畫出一個區域,之後再填上毛髮。這個區域要稍稍朝外。女性的眉毛往往比男性的窄一些,而且眉弓較為陡峭。但要小心,不要畫得太誇張。

內側眉毛呈 45 度角,並朝外側逐漸變平。最好用大量、快速的筆觸繪製毛髮。從內側開始向外繪製,逐漸小幅度偏轉每根毛發的角度。

在數位時代,使用數位板讓你能輕鬆擦去突出太多的毛髮。

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 耳朵

女性臉部有一個重要優勢:就是通常會有很多頭髮遮住耳朵,所以我們可能連畫都不用畫耳朵。耳朵是個相當複雜的結構,有許多角度、褶皺和陰影,可能應該專門為此另開一門課程詳細講述。

因此,我在圖中教大家如何只用簡單的三步繪製出稍顯抽象的耳朵。用兩個框來幫我們實現這一點。

在下一章中,我們將為臉加上頭髮和最後潤飾,包括上色。

如何繪製女性面容,
C 章:頭髮和最後潤飾

28 髮際線

希望你還沒有擦掉髮際線引導線。如果擦掉了也不用擔心,我們可以經由觀察臉的其他部分來確定頭髮的位置。

頭髮和耳朵一樣,本身就是一門科學,基本上也需要專門的教學。我儘量把講解精簡成幾句話。

我們先粗略勾畫出髮型的頂點和外緣。最好把這個部分畫在單獨的圖層上,便於之後把初步畫好的頭髮隱藏起來。分發線始於髮際線輔助線位置(本例中畫在中間偏右一點),將筆觸向上掃,儘量畫得優雅。頭髮從頂點開始向兩邊耳朵方向垂下。根據髮型的蓬鬆程度,也可以用幾根並排的線條將髮型確定下來。

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 錦上添花:最終上色。

希望你畫得開心,也希望本教學能提供一些對今後繪畫有用的技巧。當然,區區一篇教學不可能完全涵蓋這一創作主題的所有方面。

我們將在未來的課程中深入學習更多細節和變化,例如:如何從不同角度畫臉、不同年齡的臉、頭髮-鼻子-耳朵的細節、臉的著色、身體的其他部分、手-腳-身體,以及男性的面容等主題。

本教學目的在於幫助希望提升自我的藝術家打下堅實的基礎。如同任何藝術形式,唯有經常練習才能熟能生巧。如果你對剛開始畫出的作品不滿意,不要沮喪。你一定會越畫越好的。敬請持續關注我們,獲取靈感,享受樂趣。

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