Drawing eyes begins by sketching a simple line over the top of the eye, a half circle for the iris and pupil, a reflection mark inside the eye and an upper and lower lid. Draw either masculine or
Anatomical way that is taught to students of Fine Arts
A. Levator Labii Superioris Alaeque Nasi
B. Levator Labii Superioris
C. Zygomaticus Minor
D. Zygomaticus Major
E. Levator Anguli Oris
F. Orbicularis Oris
G. Node
H. Risorius
I. Platysma
J. Depressor Anguli Oris
K. Depressor Labii Inferioris
L. Mentalis The red portion of the lips and the part directly above and below is called the orbicularis oris. It originates at the corners of the lips called the nodes. These nodes are visible as ‘bumps’ since so many muscles meet and overlap here. All the other muscles of the lips pull at either the orbicularis oris or the nodes to form various expressions.
For example, the Levator Labii Superioris muscles pull the ends of the upper lip upward during a ’sneer’ to express disgust. The lips attach to the tooth cylinder at the base of the nose and the top of the chin.
Minor Planes
The Red Portion of the Lips
The top lip has three forms and the bottom lip has two. These forms are like ‘pads’ covered by the skin. The rounded form in the middle of the top lip (called the tubercle) wedges between the two forms of the bottom lip. When looking at the lips from an angle, these forms overlap each other adding depth. When drawing a foreshortened object, I always look for overlapping lines to show a form is in front of another. This overlap gives the illusion of depth on a flat piece of paper.
The
forms of the lower lip are usually fuller then the upper lip.
Sometimes, the red portion of the upper lip is completely hidden and
nonexistent.
The Upper Lip Region
Usually the upper part of the tinted lip over the lower part
Because the lower lip exposure to light is Aktar
The
edge of the upper lip has a small top plane that sometimes catches
light. I try to play down this effect and only look for areas to
indicate it, rather than drawing a white outline along the entire lip. This upper region of the lips usually has a gradation revealing the rounded ‘tuna-can’ shaped tooth cylinder underneath.
The philtrum is a concave depression in the
upper lip. The inside is composed of two planes which soften towards
the top and bottom. Try to look for the value difference between the
two planes.
The Lower Lip Region
The ridge that borders the bottom of the red portion is steep towards the center and softer towards the edges. The center of this lower lip region is called the pillar of the mouth, since is has two pillars that angle inward at the top. The pillar is usually in shadow (since light is commonly placed above the head) because it faces downward. This shadow shape softens left and right.
The Node
The nodes in the corners of the lips are very important players. You can see in the anatomical information section above, that many of the muscles attach at the node. These muscles pull on the node to form expressions. Look in the mirror and smile slightly. Then frown. Most of the change occurs in the nodes. Pay close attention to this shape when trying to capture a particular expression.
The volume of the nodes is similar to a bean. When shading, make sure to think about the fact that it is round. At the corners of the lips, all the forms are pinched inward. Drawing the Lips
The reference photo 
1. I start by finding a few landmarks
such as the corners of the lips, top of the top lip, bottom of the
bottom lip, and the center division between the lips. Make sure that the
angle between the two corners is consistent with the angle of the
face. If the face is tilted, the lips must tilt with it. To find the
corners, I’ll judge the angles from the nostrils. The bottom of the bottom lip will usually be halfway between the base of the nose and the bottom of the chin. 
2. The center line
- this is a common mistake among students. When the lips are viewed
from straight on, the center line will be in the middle. BUT, when the
face turns left or right, one side of the lips will be foreshortened. In
my drawing, the face is turning towards the right, so the center line
will be closer to the right and slightly curved, making the right side
of the lips foreshortened. The center line tells me where to place the V
shape on the top lip. 
3. At this point, I lay-in all the shapes and indicate plane changes and shadow information. Remember to stay light. 
4. When beginning to shade, the first thing I do is separate the lights from the shadows. Stay simple and don’t lose control of your values. 5. I finish off the rendering
with subtle halftone shifts in the light areas and reflected lights in
the shadows. I look for areas around the lips where i can soften or
even lose some edges. A hard outline around the lips makes it look as
if they were glued on to the face. Softening edges will connect the
lips to the face. I also make sure to keep some hard edges, usually in
the corners and center of the lips. The highlight on the bottom lip
gives it some shine. The harder the edge around the highlight, the
wetter the lips will appear. Lipstick exaggerates this effect.
الدرس التانى
For me, drawing does not come easily. I find the left and right sides of my brain battling with one another, especially when it comes to drawing facial features. I tend to start thinking about personality traits of the person I am drawing rather than the shapes made by their features, and that isn't good. This little tutorial is helpful in understanding the shapes of one of the face's most important features, the mouth:
بالنسبة لي ، الرسم لا يأتي بسهولة. أجد أن الجانبين الأيسر والأيمن من المخ بلادي تقاتل مع بعضها البعض ، وخصوصا عندما يتعلق الأمر رسم ملامح الوجه. أنا أميل لبدء التفكير في سمات الشخصية للشخص وأنا على الرسم بدلا من الأشكال التي أدلى بها سماتها ، وهذا ليس جيدا. هذا البرنامج التعليمي قليلا مفيد في فهم الأشكال واحدة من ملامح الوجه الأكثر أهمية ، والفم :
رسم الشفايف
How to draw a mouth.
The first thing to observe are the "contour lines" drawn over the mouth. The red lines convey a dimensional illustration of the construction of the lips.
Notice how the shadows dictate that the upper lip be rendered darker. In contrast, the lower lip protrudes, which makes it lighter. The corners of the mouth have more shadow. In most cases, a
good trick is to make the corners of the mouth very dark.
أول شيء لمراقبة هي الخطوط الكنتورية "" وضع على فمه. الخطوط الحمراء ينقل التوضيح الأبعاد لبناء الشفاه.
لاحظ كيف أن ظلال تملي الشفة العليا أن أصدرت أكثر قتامة. في المقابل ، يبرز شفته السفلى ، مما يجعله أخف وزنا. في زوايا الفم الحصول على مزيد من الظل. في معظم الحالات ، خدعة جيدة لجعل زوايا الفم مظلمة جدا.
The blue areas in the illustration above show a shadowed area of the upper lip. As a general rule, all of the upper lip is darker in comparison to the lower lip, but the blue shadows that you see here are even darker.
Almost 100% of the time, you can observe 5 different sections when you look at someone's lips. In drawing these sections, you will simply emphasize them a little, or a lot.
Drawing the bottom lip:
The highlighted area in orange (above) shows an area of the lower lip that sometimes is a little darker, or gets a little more shadow. This is where the lower lip curves inward. The closer to the edges of the mouth, the darker (or, in shadow) the bottom lip gets. But, remember - the bottom lip is usually lighter than the top lip because it is facing upward and gets more light cast upon it.
The highlighted area in green shows shows a shadowed area around the mouth that should not be forgotten. This shading indicates the structure of the face around the mouth. The mouth isn't just plopped on the face, it is a three-dimensional thing, with surrounding muscles and structure. Usually, there will be some shading (subtle, but there) at under the lower lip, and around the corners of the mouth.
The area highlighted in white all around the lips is another often overlooked detail in portrait art. If you look closely at someone's lips, you will see that we all have a bit of a ridge around our lips.
When someone has a 5-O'clock shadow, it'll be particularly noticable. In most cases, whiskers won't grow on this particular area around the mouth.
The Red Portion of the Lips
The top lip has three forms and the bottom lip has two. These forms are like ‘pads’ covered by the skin. The rounded form in the middle of the top lip (called the tubercle) wedges between the two forms of the bottom lip. When looking at the lips from an angle, these forms overlap each other adding depth. When drawing a foreshortened object, I always look for overlapping lines to show a form is in front of another. This overlap gives the illusion of depth on a flat piece of paper.
The
forms of the lower lip are usually fuller then the upper lip.
Sometimes, the red portion of the upper lip is completely hidden and
nonexistent.
The Upper Lip Region
Usually the upper part of the tinted lip over the lower part
Because the lower lip exposure to light is Aktar
The
edge of the upper lip has a small top plane that sometimes catches
light. I try to play down this effect and only look for areas to
indicate it, rather than drawing a white outline along the entire lip. This upper region of the lips usually has a gradation revealing the rounded ‘tuna-can’ shaped tooth cylinder underneath.
The philtrum is a concave depression in the
upper lip. The inside is composed of two planes which soften towards
the top and bottom. Try to look for the value difference between the
two planes.
The Lower Lip Region
The ridge that borders the bottom of the red portion is steep towards the center and softer towards the edges. The center of this lower lip region is called the pillar of the mouth, since is has two pillars that angle inward at the top. The pillar is usually in shadow (since light is commonly placed above the head) because it faces downward. This shadow shape softens left and right.
The Node
The nodes in the corners of the lips are very important players. You can see in the anatomical information section above, that many of the muscles attach at the node. These muscles pull on the node to form expressions. Look in the mirror and smile slightly. Then frown. Most of the change occurs in the nodes. Pay close attention to this shape when trying to capture a particular expression.
The volume of the nodes is similar to a bean. When shading, make sure to think about the fact that it is round. At the corners of the lips, all the forms are pinched inward. Drawing the Lips
The reference photo 1. I start by finding a few landmarks
such as the corners of the lips, top of the top lip, bottom of the
bottom lip, and the center division between the lips. Make sure that the
angle between the two corners is consistent with the angle of the
face. If the face is tilted, the lips must tilt with it. To find the
corners, I’ll judge the angles from the nostrils. The bottom of the bottom lip will usually be halfway between the base of the nose and the bottom of the chin. 2. The center line
- this is a common mistake among students. When the lips are viewed
from straight on, the center line will be in the middle. BUT, when the
face turns left or right, one side of the lips will be foreshortened. In
my drawing, the face is turning towards the right, so the center line
will be closer to the right and slightly curved, making the right side
of the lips foreshortened. The center line tells me where to place the V
shape on the top lip. 3. At this point, I lay-in all the shapes and indicate plane changes and shadow information. Remember to stay light. 4. When beginning to shade, the first thing I do is separate the lights from the shadows. Stay simple and don’t lose control of your values. 5. I finish off the rendering
with subtle halftone shifts in the light areas and reflected lights in
the shadows. I look for areas around the lips where i can soften or
even lose some edges. A hard outline around the lips makes it look as
if they were glued on to the face. Softening edges will connect the
lips to the face. I also make sure to keep some hard edges, usually in
the corners and center of the lips. The highlight on the bottom lip
gives it some shine. The harder the edge around the highlight, the
wetter the lips will appear. Lipstick exaggerates this effect.
الدرس التانى
For me, drawing does not come easily. I find the left and right sides of my brain battling with one another, especially when it comes to drawing facial features. I tend to start thinking about personality traits of the person I am drawing rather than the shapes made by their features, and that isn't good. This little tutorial is helpful in understanding the shapes of one of the face's most important features, the mouth:
بالنسبة لي ، الرسم لا يأتي بسهولة. أجد أن الجانبين الأيسر والأيمن من المخ بلادي تقاتل مع بعضها البعض ، وخصوصا عندما يتعلق الأمر رسم ملامح الوجه. أنا أميل لبدء التفكير في سمات الشخصية للشخص وأنا على الرسم بدلا من الأشكال التي أدلى بها سماتها ، وهذا ليس جيدا. هذا البرنامج التعليمي قليلا مفيد في فهم الأشكال واحدة من ملامح الوجه الأكثر أهمية ، والفم :
رسم الشفايف
How to draw a mouth.
The first thing to observe are the "contour lines" drawn over the mouth. The red lines convey a dimensional illustration of the construction of the lips.
Notice how the shadows dictate that the upper lip be rendered darker. In contrast, the lower lip protrudes, which makes it lighter. The corners of the mouth have more shadow. In most cases, a
good trick is to make the corners of the mouth very dark.
أول شيء لمراقبة هي الخطوط الكنتورية "" وضع على فمه. الخطوط الحمراء ينقل التوضيح الأبعاد لبناء الشفاه.
لاحظ كيف أن ظلال تملي الشفة العليا أن أصدرت أكثر قتامة. في المقابل ، يبرز شفته السفلى ، مما يجعله أخف وزنا. في زوايا الفم الحصول على مزيد من الظل. في معظم الحالات ، خدعة جيدة لجعل زوايا الفم مظلمة جدا.
The blue areas in the illustration above show a shadowed area of the upper lip. As a general rule, all of the upper lip is darker in comparison to the lower lip, but the blue shadows that you see here are even darker.
Almost 100% of the time, you can observe 5 different sections when you look at someone's lips. In drawing these sections, you will simply emphasize them a little, or a lot.
Drawing the bottom lip:
The highlighted area in orange (above) shows an area of the lower lip that sometimes is a little darker, or gets a little more shadow. This is where the lower lip curves inward. The closer to the edges of the mouth, the darker (or, in shadow) the bottom lip gets. But, remember - the bottom lip is usually lighter than the top lip because it is facing upward and gets more light cast upon it.
The highlighted area in green shows shows a shadowed area around the mouth that should not be forgotten. This shading indicates the structure of the face around the mouth. The mouth isn't just plopped on the face, it is a three-dimensional thing, with surrounding muscles and structure. Usually, there will be some shading (subtle, but there) at under the lower lip, and around the corners of the mouth.
The area highlighted in white all around the lips is another often overlooked detail in portrait art. If you look closely at someone's lips, you will see that we all have a bit of a ridge around our lips.
When someone has a 5-O'clock shadow, it'll be particularly noticable. In most cases, whiskers won't grow on this particular area around the mouth.
In summary:
* Sketch the outline of the lips.
* "Block in" the shading of the lips, putting more shading on the top lip, and leaving a highlighted area in the middle of the bottom lip, and some highlighted areas on the upper rim of the top lip.
* Add more shading and rendering. Don't forget the "ridge" around the lips, and the shading around the mouth that suggests its structure. Add the darkest accents of tone to the corners of the mouth
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