FACIAL FEATURES – NOSE, MOUTH & EARS

The Nose

Key Concepts from the Video

• Major Planes First – Simplify the nose into 4 big planes: top, two sides, and bottom. This locks in perspective before details.
• Three Main Masses –
  1. Bridge – Nasal bone + maxilla + lateral cartilage.
  2. Ball – Greater alar cartilage, split into two halves.
  3. Wings – Alar fat forming the nostrils, attached to the ball.
• Anatomy Under the Skin – Understanding bone, cartilage, and fat placement explains surface shapes.
• Minor Planes – Subtle plane changes create halftone patterns; knowing them helps you design shadows accurately.
• Perspective Awareness – The nose projects forward; nostrils connect farther back than the septum due to the tooth cylinder.
• Light & Shadow – Halftones often reveal plane changes; cast shadows from the nose help anchor it to the face.

✏️ Step-by-Step Drawing Technique

1️⃣ Block-in the Major Planes

• Lightly sketch the top plane, two side planes, and bottom plane of the nose.
• Compare width-to-height and angle relationships to the rest of the head.

2️⃣ Place the Three Main Masses

• Bridge: Draw the keystone-shaped glabella at the top, then taper down to the lateral cartilage.
• Ball: Indicate the rounded tip, remembering it’s split into two halves.
• Wings: Attach the nostril wings to the ball, curving them back toward the cheeks.

3️⃣ Add the Minor Planes

• Observe subtle shifts:
  • The glabella slopes downward.
  • The lateral cartilage creates a ridge before transitioning to the maxilla.
  • The ball tucks under itself toward the septum.
• Lightly map these as flat facets before shading.

4️⃣ Define the Nostrils

• Draw the nostril openings as ellipses in perspective, not flat ovals.
• Remember: the outer edge of the nostril connects farther back than the septum.

5️⃣ Establish Light and Shadow

• Fill shadow shapes evenly first (under the ball, inside nostrils, cast shadow on philtrum).
• Keep the top plane lighter; side planes in halftone; bottom plane darkest.

6️⃣ Model the Forms

• Use soft gradations to turn the ball and bridge.
• Suggest cartilage edges subtly—avoid hard outlines except where planes meet sharply.

7️⃣ Final Refinement

• Sharpen edges in focal areas (nostril rim, cast shadow core).
• Soften transitions on rounded forms (ball, bridge sides).
• Add reflected light under the ball to separate it from the upper lip.

Front View

1. Start with a simple wedge shape to place the nose.
2. Draw the bridge lightly, keeping it subtle.
3. Indicate nostrils as soft ellipses, not harsh outlines.
4. Use shading to define the tip and sides; avoid strong contour lines.

Side View

• Show the angle of the bridge and slight dip before the tip.
• Outline the nostril shape clearly, with shading beneath to indicate depth.

Three-Quarter View

• Focus on overlapping forms: the near nostril appears fuller, the far side recedes.
• Add soft tonal transitions to define the structure without harsh outlines.

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The Mouth

Front View

1. Place a centre line for the mouth’s alignment.
2. Sketch the Cupid’s bow and upper lip shape.
3. Block in the lower lip, fuller and rounder than the upper lip.
4. Shade to indicate volume, focusing on tonal changes rather than outlines.

Side View

• Show the upper lip projecting slightly over the lower lip.
• Indicate the philtrum’s slope and subtle shadow beneath the lower lip.

Three-Quarter View

• The nearer side of the mouth appears larger, with the lips curving around the cylinder of the mouth.
• Use shading to emphasise form and depth.

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The Ear

Front View

• Only a small portion of the ear is visible from the front; indicate the top curve and lobe lightly.

Side View

1. Sketch the overall oval outline tilted slightly back.
2. Block in the Y-shaped cartilage ridge, concha (inner hollow), and lobe.
3. Shade carefully to create depth.

Three-Quarter View

• Draw the ear partially visible, noting its tilt back from the face.
• Focus on simplified shapes and values.

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Useful Tips

• Think in 3D: Visualise features as solid forms: spheres (eyeball), wedges (nose), cylinders (mouth), and shells (ears).
• Avoid Outlines: Use shading and lost-and-found edges for realism.
• Measure Proportions: Eyes are typically one eye-width apart; ears align roughly between the brow and the base of the nose.
• Observe Light: Watch how shadows describe planes, especially under the nose, lips, and eyelids.
• Vary Line Quality: Light lines for guidelines, darker lines for emphasis.
• Work from General to Specific: Block in large shapes first, then refine detail.

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Conclusion

Drawing facial features accurately is about observation, proportion, and understanding form. By breaking down the features individually and studying them in multiple views, you’ll build confidence and develop a stronger understanding of facial structure. Consistent practice is key—study from life, reference photos, and anatomy models to refine your skill.

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Application Exercise

1. Choose a single facial feature (eye, nose, mouth, or ear).
2. Draw it three times: in front, side, and three-quarter views.
3. Focus on construction lines, proportions, and simple shading first.
4. Once comfortable, complete a full facial feature study, combining all features in one portrait sketch.
5. Use a range of pencils (HB, 2B, 4B) and blend carefully to model the form.

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Reflection and Critique Questions

1. Which feature was most challenging to draw, and why?
2. Did you rely more on line or shading to describe form?
3. Are the features proportional to one another?
4. Does your shading accurately represent light direction?
5. Are your lines clean and confident, or do they need refinement?
6. How can you improve your observation for more accuracy in future studies?