How to Draw Asian Eyes better Real time Tutorial  About Face Geisha #5a

How to Draw Asian Eyes better Real time Tutorial About Face Geisha #5a


(OPENING MUSIC) *Cinnamon: Hi everybody, it’s Cinnamon Cooney, your Art Sherpa. Ooh, my fringee’s flying today! On the mic is my husband… Fringees… On the mic is my husband John. He’s gonna be following me around with cameras. We are coming to you on Facebook, today. But of course you’ll be able to find this video later on the website, on our Big Art Quest pages there. We always try to include that on the painting link so if you can’t make the drawing tutorial, or you can’t stay for the whole thing, you can go back and get that information later. At your leisure. This is what we’re doing. Thursday. Isn’t she beautiful? *John: Yeah. *Cinnamon: So we’re gonna talk about some things that, um… some things for you to be working on, and one of them is how to paint an Asian eye, that has not been Westernized, or Asian features, that have not been overly Westernized. And we’re all gonna do it a little bit, if we’re from the West. But, it’s a wonderful thing to try to push back and battle against those tendencies. So, we’re gonna talk about things that you should be looking for, and striving for in your drawings. We’re gonna really cover how to draw an eye that looks more Asian. And we’re gonna cover a little bit about how to sketch her in and maybe do a pencil study of her out. Uh, on the video there is a mini-quest, um, that’s already listed up there. The… She’s already listed for Thursday so, hopefully some of you guys are excited about doing her. *John: Oh yeah! *Cinnamon: And maybe learning some more things about different ways. Cause I know I have just been dropping eye video on eye- I’m not even done. I’m just trying to cover this cause like when it’s covered enough then you guys can do it. So I’m always like, can we make it easier? Can we make it better? And this one of those things. And I’m sure I’ll drill down on this again. I’m gonna put her aside. John’s got picture in picture today. *John: I do? I say that questioningly. I’ve got it here somewhere and it’ll be up here in just a moment. *Cinnamon: It’s not like a current emergency. So I’m gonna pull out one of my 2B or not 2B pencils. That’s a 4B pencil. I’ve got my little nine thousand jumbo Faber Castell 2B pencil. I just like these. And we’ve done a lot of drawing of regular eye lately, as a community. Let’s talk about how when we draw an Asian eye we might be drawing things a little bit differently. Cause there’s some definite, definite structural differences, that if you don’t represent, you’re going to over round your eyes, you’re gonna put too much depth in your lid, and you’re gonna make it look like you lost your mind. [both laughing] *Cinnamon: Basically. And believe you me, people will comment. I did a… A, uh….. Moana, before the movie came out. And I used a really adorable little Hawaiian pageant girl, but she’s freckled, and my watercolor lightened. Lot of stuff went wrong in my painting, and boy did I hear about it. *John: So she came out to be too fair skinned. *Cinnamon: She came out way too fair skinned! [John chuckles] *Cinnamon: But I’m back into the Qor watercolor paints cause they don’t lighten up on me as much. Yeah. Girlfriend… She… Yeah. She got bleached by the sun. *John: So we got a whole crew of people. We’ve already got over a hundred people out here. And they’re all just really happy to be here. *Cinnamon: I’m gonna sip my- I have to show off my tea cup, and then I’m totally gonna be drawing. *John: Tea cup! *Cinnamon: Yeah. I love how on Facebook other than the angry face. There’s really no thumb deal. [John laughs] *Cinnamon: And then I can go see who made the angry face, and be like, “Why?” Why you angry face me? *John: Why are you angry at us? *Cinnamon: I also go look at all the happy faces and go why you happy face me, so. *John: I like the little hearty ones. *Cinnamon: Balance. *John: Those are my favorite ones. The little heart ones that I see pop across the stream. And what’s really cool is you get to see little hearts pop. They go boop, boop, boop…. *Cinnamon: This is, look, my tea cup has this lid. I have Lady Grey in it today. *John: Yes! *Cinnamon: See, I was very on theme. *John: Yes you were. *Cinnamon: We have- Sometimes we’re fascinated by things culturally. That we are not informed on. [John chuckles] *John: It’s true! *Cinnamon: This would be one of those subjects for me. I am not informed on the life of a geisha in any particular way outside of some basic stuff that gets covered online and in moves and books. *John: Yeah. There’s a couple movies. *Cinnamon: But the aesthetic I adore. *John: Now one of the things, you know, I’m not sure if it’s true for geisha, but I know that in Kabuki the face paint that they use uses real lead flake white. *Cinnamon: I believe it might be. I have to check that out. Which is why we can’t get lead flake white easily in paint anymore. *John: It’s real hard, yeah. *Cinnamon: So let’s talk about these lids. In a western lid, right, things are a bit different, and one of the first things that we wanna do is we do wanna create a beautiful slope, and almond slope. Right? To our eye. Right? Take the tear duct out in almost a more extreme form. And this crease back here is generally deeper and more noticeable. I’m gonna arch the tear duct up a bit And pull this line out. Now, one of the things that you definitely definitely don’t want to do is, um, electively give your person eye lid surgery. [both chuckle] *Cinnamon: It’s a controversial issue right now. So, you know, what you’re thinking about is there’s a double lid and a single lid. Right, and you have to look at your model to determine which you have going on. But definitely, definitely remember that whatever lid you have and in our girl, we had a little lid, that it’s much more diminished. And I mean much! *John: Now it’s a really interesting thing that’s, you know, I lived and traveled in Asia a lot, so you know, a lot of my friends talked about you know, single lid versus double lid. The Western eye versus the Eastern eye. *Cinnamon: Yes. *John: And, uh, you know, it’s interesting how we always like what we don’t have. [Cinnamon laughs] *John: So, you know, it’s one of those things. I always thought it was really cool. All my friends who had the really cool single lid eye and they all thought my lids were really cool. *Cinnamon: Well, something to think about, there’ll be more puff down here which actually was a question I just got. So I’m gonna kinda draw that in. The thickness of the lid here is much more pronounced. And another thing I want you guys to think about. We’re still gonna come up and set our eye brow. Eyebrows will be thicker, but they do another really important thing. That you really really gotta think about is the hair directionality. So you know when we were doing our Western eyebrow, we do this sort of like little, nice up… Swept… And they come together in that little organized line. But actually…. When we’re doing a more Asian eyebrow you’re gonna start out with an up swept. But, believe it or not… The directionality of the brow starts to change over the curve. And that’s something to just think about. Especially if you’re doing male Asian eyes. Like, big deal there. And they do not pluck. [Both chuckle] *Cinnamon: As a community. There’s are some- There’s always somebody who’s like, no no. I gotta go to the salon. But when you’re looking at most… See how this switches? This is really important. So already we’ve kept that from being as Western as we could. The other thing is, when doing darker eyes, about what you have to put in the eye. We’re gonna really cover that in a painting tomorrow. I’m making sure that some of the eye ba- Eyeball is disappearing above the lid, right? *John: Mm-hmm. *Cinnamon: One of the things is you wanna make sure is that you darken this up enough. Right? So, when I’m shading this out… You know, I’ve gotta be thinking about these types of things. The differences in the eyes. Otherwise it just gets off. And just…. Lightly… And I might even lighten this lower… Lower lid here. The lid is actually thick. But the round on it creates a different shadowing, which is sort of interesting that you want to get into. So I’m gonna make this just a little lighter. And then in here make this much deeper. This right here is going to be deeper. This crease. And don’t extend this crease out far because of you do, you implied somebody had eye surgery. Which you don’t want to do. Lessen the tear duct. Definitely still gonna create all the shading. A beautiful shadow generally… Um, below the lid. And you’re like, Beautiful shadow?” Yeah. Beautiful shadow! I…. When eyeballs have depth and shadow, it creates a really tremendous drama. And then when you’re doing a dark eye you’re gonna have subtle value changes. Everything’s gonna be quite dark. And it’s really gonna be about a reflection. Which I’m gonna pull out right now. So the outer edge here is super super super dark. And value. And we’re just really gonna go through this. Hopefully it will help. Very very dark under here. [whispers] Dark dark dark dark dark dark. I love my 2B pencil. I actually have a softer leaded pencils if I wanna get like really… Banana about it. Bananas! I’m gonna really start putting in this whole eye very dark. This will probably be my lightest value that I’m putting in right now in this eye. *John: Hmm. *Cinnamon: I might imply that there’s…. A pupil here, but I’m gonna work this so dark, it’s just gonna be an implication in a minute. A rumor. [John chuckles] *Cinnamon: You wanna darken, darken, darken. See? Already? How we’re starting to get that feeling? *John: Yeah. *Cinnamon: And that’s how that’s done. It’s paying attention to these little bits here. Definitely use reference photos. Watch for surgical sites. Cause they will throw you off. That honestly was like a big problem I was having. I’m gonna get some sip of my tea. When I was doing research, is a lot of the reference photos were models that had eyelid surgery. Or, um, western models. Right? Who, you know, have an American heritage. Or, umm…. The plastic surgery sites. *John: Right. Yeah. *Cinnamon: So that was actually a challenging thing, to make sure, like, am I looking at an eye that’s been through plastic surgery, that’s been westernized? Or am I looking at an eye that’s truly Asian? Yeah. So, just something to think about in your journey when your on the google. Google can be very confusing for artists. *John: Yeah! *Cinnamon: I don’t know what y’all think about that, but that was just something that…. *John: I’m stretching, not signaling to you. *Cinnamon: Oh, ok! [both laugh] *Cinnamon: I’m like, John’s like nope, nope! Channel’s over now! [chuckles] So I’m gonna just create a nice little shadow down here. And just very lightly here. Just deepening that. So you can see how I’m just… Trying to shade this, this thickness, right, that’s under the eye. And then I generally found there was, like, almost a divot right here. You know, my original model had quite a lot of, um…. You know, um, makeup. So, I was looking at all these different crazy makeup things, going, “Yay!” So, it’s important to… Kind of be looking online and try to find some eyes or references that show you the thickness of the lid. Cause if you don’t have it… Then you’re gonna have trouble. I’m gonna use this other one here. I think I’ve got some photos I sent you,
John. *John: Some photos you sent me? I have a closeup and a wide…. Uh, closeup and a wide shot of this. *Cinnamon: Oh, ok. Yeah, you can even pull in the closeup so people can kind of see that. *John: Ok. Hold on a second. *Cinnamon: So I’m just…. Making sure…. That I’m sort of showing a thickness… Of lid here, cause you gotta really show this thick lid. I might even- I’m inclined to just even drop this down a bit. To be honest. Just even a bit. Making the shadow seem even more diminished. See? *John: Yeah. *Cinnamon: Reduction here isn’t gonna go wrong, and on some, especially children’s lids, there’ll be almost none. Almost no double lidded-ness at all on children. And also you have some differentials on eyelashes that are occurring. Right? Finer eyelashes…. And…. Let me sharpen up. And I found had a more straight process out. So that weird eyelashy curve thing we love to do? *John: Mm-hmm. *Cinnamon: Yeah. Now the universe will try and…. *John: Interesting. *Cinnamon: Straighter eyelash. Which is cool! Everything is cool in art. Here’s the deal. Everything is cool in art. It’s just your job to do your best to talk about the things that you see. And how you’re seeing them. *John: Yeah. *Cinnamon: And that’s all you’ve gotta do. Let the world do the world’s crazy. You just tell stories that you can tell. Increase the shadow here. *John: And now- So- *Cinnamon: I’m really loving this. I’m sorry. I’m getting all lost in this. *John: So could you do me a favor- *Cinnamon: I’m having too much fun! *John: So, If you turn over and I- And there’s some folks here who are unfamiliar with what we mean by a double lid. Or a single lid. *Cinnamon: Oh! Ok. *John: So why don’t you look at the camera. Because Cinnamon- *Cinnamon: Barely, but I have a double lid. *John: Yeah. So you can see how the fold of her eye happens- *Cinnamon: Oohh. That’s a bunch of HD nonsense. See how [?] to my head til I turn around. *John: See how the lid folds up high and folds into her- Into the top there? *Cinnamon: And if you look at my mom, hers is really deep. Like her brow bone sucks back into her head. *John: So, on an Asian eye if you go over here and look at this one you’ll see that that fold happens much much closer- *Cinnamon: I have a picture here. *John: To the edge of… *Cinnamon: See? *John: There ya go. *Cinnamon: How much less….? *John: There ya go! I’m gonna have to zoom out *Cinnamon: So, and this is almost a double lidded Asian eye because this can really end up right on the lash line. *John: Right. So the lid folds underneath much closer to the… *Cinnamon: Or not at all, actually. *John: Or not at all to that eyelash. So that when you close your eyes then it- So that crease point is the big difference there. *Cinnamon: Right, and then you see the depth and stuff there. So that’s what we’re trying to talk about when we’re talking about this, when we’re trying to… You know, and this is true even when you’re doing belief faces is paying attention to the story of the face and making sure that those features are represented well. *John: Hmm. *Cinnamon: You know, that’s a thing I see a lot of artists accidentally do, is they…. don’t draw into that extra research. That’s why the quest was about, um… See how that’s doing. Yeah, that’s doing. That’s looking really good. And see how we got a little bit of puffy under here? *John: If you lean your hat forward then I can show you. Watch! See? There you can see. *Cinnamon: Yeah. *John: Looks really good. *Cinnamon: So it’s just real nice. You can see it at a distance how it, you know, and I can even darken this eye up. *John: Yeah? *Cinnamon: Yeah. *John: Everybody’s really loving this. So you know, we’ve got- We’ve got like 140 people out here. It’s a pretty full house. Everyone’s just chatting chatting up a storm. *Cinnamon: Chatting chatting chatting! Up a storm. *John: And they really like that you’re showing some different eye styles. And…. *Cinnamon: It’s just important. It’s just like one of the things that we’re going to do and listen. I gotta tell you, quite honestly, in this, as you do more faces, and as you draw people from all over the world, right, if you choose to do that, and I highly recommend it. Right? You’ll start to recognize that these features, they have meaning and purpose. *John: Yeah. *Cinnamon: Right? And you’ll start to be like, “WOW!” I get why this is how this is. You know. Why I have freckles. And the face shape and the skull shape that I have versus somebody from Persia. Why are we different? And it stops being about all the crazy stuff people want to make it about, and more about who we are. So, it’s a really wonderful thing that you can drill into as an artist. *John: Well, I’m gonna real quick, just thank everybody who’s here, because we- There’s so many people. They’re just piling in. We already got over 150 people in the room. Don’t want you guys to forget. If you want to know more about this or any of the other big art quest projects, you can find it at that link right there. theartsherpa.com/baq I love love love seeing all of the little- The little hearts and happy faces and smilies that are popping up, so don’t forget to hit those little likes and loves and shares. *Cinnamon: And we’ll have this up there. *John: Yeah. And we’re gonna move this over to, uh, Youtube. In high resolution. *Cinnamon: Um, nope. We didn’t do it last week and we haven’t done it, so. *John: We’ll get them over there at some point. *Cinnamon: You can find them on the website. *John: On the website. *Cinnamon: I don’t know John’s ever gonna get them over there. He says that but he hasn’t been getting them so… [both laugh] *John: You’ll always find the link on the website to all of that stuff. *Cinnamon: The links, the website, is your go-to. So that way if we’re having a crazy week, or stuff is busy, or you know, whatever happens happens, cause it’s really just- We’re just regular Joe’s. We’re not secret lottery winners, just so y’all know. [John chuckles] *Cinnamon: And, uh…. So, you know, our life happens, cause you gotta do, you know, sports and scouts and… [?] *John: But thank you guys, yeah. Thank you for coming. I love seeing little hearts and likes coming up here cause it’s different that we get to see them on Facebook and stuff. *Cinnamon: So I’m just gonna real quick talk about putting her in. *John: Ok! *Cinnamon: Right? So we talked some on a three quarter face a little bit. But this is a three quarter face that’s a little bit facing us. Right? A little bit at an angle. So I’m just gonna loosely, kind of put this in. One of the things that I like to do, is I like to get my basic sort of…. Shape…. Thought about. Like that’s too high. Right? So I have my little basic oval. When you’re doing Asian faces, and even the one I did, I probably thinned- I elongated a bit. You know, so just remember to round and soften the features. *John: Mm-hmm. *Cinnamon: You know. I’m going to come in and make my meridian line. Where does the nose go? The nose is going to be slightly off center on this meridian, right? And then we have the neck…. Coming down here. So, if the nose is slightly off center on the meridian then I can put my eyes in as we did on the believe face, somewhere here. If I know where my eye is, I know my ear has to begin at my eye line and come and tuck down. Just tells me where that’s gotta be. [whispers] Where’s it gotta be, man? Right? So that lets me know that this eye is in perspective and will be slightly more diminished than this eye. And even though I do try to keep an eyes width between these two, I’ve still gotta deal with the perspective of it. So the length of the eye’s distance will happen more on the right hand side than on the foreshortened side. And some things to think about on this nose. So I’m gonna come down… Put in my half way mark for my nose, which is lining up with the bottom of my ear. And then I know I’m gonna have a mouth in this space, right? So when I put in my center ball… For my nose, I know this center ball can be in perspective. And this ball will be slightly larger. See how that helps me already figure out the perspective of my nose? This particular nose is interesting because of the slope. Coming down, the depth that we’re gonna end up shading out. And the fact that this nostril…. Shows a great deal more than the other nostril So when we’re shading our nose, we’re gonna be talking about those things. Pulling those out. And I’m gonna do one of my do’s and don’ts of noses pretty soon here. And probably some different things, cause I think that they’re interesting for us to look at. Examine. See how I’m pulling that more down than I have before. And I can even cast a deeper shadow there. So that’s gonna help me when I’m trying to put in her nose. I have a similar….. Gonna put the ball right there on her lips. The makeup actually had some stylization to it, so that was interesting looking at that. So I definitely wanna get a look at my reference photo. My reference there. My painting. Here… And then I want to pull down… This lip was a little square. So, line up these bits when you’re trying to square it out. Can you see how the top of the lip is lining up with the bottom of that square? Making it therefore much easier. You here, John? [Cinnamon laughs] *Cinnamon: I didn’t know if you left me! *John: I’m- No, no. I was just taking care of some technical things that were going on there. *Cinnamon: Oh! Were we having? So you can kind of see that coming in a bit, right? *John: Yeah. I think… *Cinnamon: And then, you know, when we’re putting in her chin, then you’re gonna have you know, your neck coming down and…. That way when we…. Sketch in the kimono, it’s not such a big thing. The interior lid over here’s gonna go deeper. And interestingly enough…. You’ll see more of that part of the lid shading than outer coming up from this perspective. And this will be shown deeper. So just be sure you’re catching that. And you’re gonna wanna try to catch your eyes on the same line. And this eye will be pretty much exactly what we just did. Over there. You know, we’re gonna wanna be catching that. So, I’m just sketching her in. So once I get her kind of sketched in there, then I know…. I got this really sort of beautiful little shadow space that I get to talk about. And where does her… Eyebrow really start? Well, you can start thinking about it in terms of the nostrils and inner eye. And same here. Arching up and off the page. And again, arching up. And over. And we’ll remember when we’re painting- When we know we’re painting her in, there’s just some stuff we don’t have to worry about. Like I’m gonna definitely make sure that I know I’ve got a shadow happening here. And then what’s fun is the sort of shape of the hair. Which is going to… Come up, and we get a bun shape happening here. I really love, actually, believe it or not, doing the hair part. Just sketching her over. So that’s really how we get her sketched in. When we’re gonna be doing it. Tomorrow- Ah! She came out lovely! So weird when I do that. *John: Can you lean forward? *Cinnamon: Huh? *John: There, you can see her. *Cinnamon: But of course we’re gonna have a traceable. *John: Yes! *Cinnamon: Right? We’re gonna have a traceable. And you’re gonna have the painting to look at. She’s on the big art quest. She’ll be on the page. *John: You can go back in now. *Cinnamon: You can practice drawing her. *John: You can go back in there. It’s ok. *Cinnamon: Ok. You can practice drawing her. You know, looking at those values. Looking at the shading. You can absolutely do that. You can go online and try to find you know, Asian eyes that inspire you. Umm…. You know, and practice these skills. The quest was about trying to find something in your life. Have you ever been inspired? The mini quest Have you ever been inspired by something that either by time, like, it occurred in a time frame of which you’re unfamiliar. Or, um, like a culture event. Or inspiration which you’re unfamiliar and that could be anything from Mardi Gras to there’s this really cool witch festival in Germany where all the little kids are dressed up with like flowers on their head. Things that you might see on the internet, or you might see on a show, or you might see somewhere reading a book that you’re fascinated by. That maybe you don’t have a lot of information on. My challenge to you is to doodle a sketch, a little painting doodle. Nothing too crazy or drilled down. Right? And… Do that. See what you’re thinking about it right now. And then do a little bit of research. Like when I did her, I don’t have a massive amount of, uh, geisha information, but I certainly recognize her simpler hairstyle and less ornate in the story of the red collar and the red makeup indicates her path or journey as a more established geisha. That was like something that, you know, I didn’t know, so as I was reading up more things I was like, huh. I might have done silver embroidery. I might have told more of that story. *John: Right. *Cinnamon: So, like authors, artists are world builders. *John: Mm-hmm. *Cinnamon: Right, and even if we do fantasy. Even if we’re doing surrealism. We have the opportunity to be world builders, and research is so easy that, if you’re watching me on Facebook, chances are you can get online and do some. You know, go and do some reading up, actually do it, and see would that have informed what you did doodle differently? Would you have put different things in the image? Would you have wanted to talk about different things in your art? *John: Yeah. *Cinnamon: I don’t- You’re probably like, I don’t really think of myself as a story teller. I’m just trying to relax on a Thursday! [Both laugh] *Cinnamon: But you are. You’re a storyteller. *John: But you are, yeah. Yeah. *Cinnamon: And thinking about those things that we might put in our images. Some of my favorite artists are concept artists. Right? People that design worlds for movies, or craft worlds for comics. *John: Yeah. *Cinnamon: And one of the things that they do as a community, and I don’t care if you’re working at Pixar, Nemo is a HUGE amount of research. *John: Yeah. *Cinnamon: So that even if they’re creating a fantasy creature, they look at real creatures in the world to get inspiration. They’re like, Oh. I like how that tentacle is built, or I like how that scale pattern is. So you’re always building worlds on that. And artists that really I think speak to us are really good world builders. *John: Yeah. *Cinnamon: And I think that’s why, um….. Our galactic soul painting really struck a cord, is cause it builds a world. *John: Yeah. I really like that world. I like that. That was pretty cool. So, yeah. And you guys, don’t forget to join us out on the website. theartsherpa.com Because we have our chat and our community group. All of the big art quest stuff is always going on up there. You can find that information about this and other interesting quests, right? *Cinnamon: This and other interesting quests! Which are gonna be ongoing. And we are really gonna cover it. You’re gonna be like- You’re gonna be like, I got it! Noses, faces, lips, mouths, ears, got it. Got it got it got it. *John: Got it. *Cinnamon: But you’re gonna be giving. Goal. This is our personal goal. Portraits if you feel like it for the holidays. That’s our personal goal. So in your heart you’re gonna be like, I feel like I can do it. So… [chuckles] *John: Yeah. *Cinnamon: It’s a dangerous world, portraiture, but we’re gonna try to get there, and hopefully we’re talking about stuff in such a way that you guys are building up a bunch of skills. *John: Yeah. *Cinnamon: And you’ll find yourself coming out the other side of it pretty versed. In noses. The eyes, ears, noses, mouths, foreheads. Wrinkles. All that fun stuff. I mean, hopefully- Hopefully at the end of this you’ll be like, my favorite people to draw are really old people! *John: [chuckles] Yeah. [Cinnamon cackles] *Cinnamon: Cause they’re really awesome to draw. *John: I want to say thank you. BIG big big big art high fives everybody! We’ve got over like 175 people over here, throughout, you know, on this. It was really great! We had a great crowd! Thank you guys for coming and joining and chatting with us. *Cinnamon: And see you guys at the easel really soon. Tomorrow, in fact! *John: Yeah. *Cinnamon: At noon. To paint her. *John: Yep. *Cinnamon: Black gessoed canvases. Or black paint. You know, it’s all good. *John: Or something like that. *Cinnamon: [Chuckles] Ok. Bye bye. *John: Bye bye, guys. [closing credits]

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