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HelixEarlobeAntihelixWorkshopsPAINT REALISTIC EARSEars are too often a forgotten feature in portraits, but artist Katarina Sokolova shows how they can add to a character…ars are a very important part of person’s character, but E unfortunately in portraits Katarina they’re often forgotten or Sokalova simply covered by hair. It’s a pity! An COUNTRY: Ukraineopen ear, decorated by a beautiful earring, visually extends the neck and Katarinaas beenorking can subtly give the character sensuality, asGrtistfinesse and daintiness.foriveearsHuman ears, just like the other parts of ander work isnhexposand the face, vary greatly in form, size and the auricle there is a cavity, whose front the rest of the auricle, whereas for others Exotiqueooksnd character. However, despite the variety, all part has a characteristic ledge, known as those planes are different.number of exhibitions. ears have common structure and that’s a the tragus. Opposite to the tragus, there’s When you start sketching ears, begin Sheoesommissionsfor privatelients. vital consideration when constructing an another ledge, called the antitragus. At with the general form. Start the sketch by katarinasokolova.com image. The base of an auricle consists of the bottom of the ear is the earlobe. defining the axial line, which helps to complex curved forms. It’s almost Unlike the other parts of the auricle, correctly establish the ear position. At the DVD FilesTheilesoueed completely made of ...

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Publié par	Theyl
Nombre de lectures	86
Langue	English

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Workshops

T REALISTIC EARS Ears are too often a forgotten feature in portraits, but artist Katarina Sokolovashows how they can add to a character…

Katarina Sokalova COUNTRY:Ukraine Katarina has been working as a CG artist for five years and her work posé and Exotique books and a number of exhibitions. She does commissions for private clients. Files The files you need are on your DVD Katarina Sokolova folder in the Workshop section. SOFTWARE:Painter X (demo)

_ UNI20.tut ears 76

rs are a very important part Eof person’s character, but unfortunately in portraits they’re often forgotten or simply covered by hair. It’s a pity! An open ear, decorated by a beautiful earring, visually extends the neck and can subtly give the character sensuality, finesse and daintiness. Human ears, just like the other parts of the face, vary greatly in form, size and character. However, despite the variety, all ears have common structure and that’s a vital consideration when constructing an image. The base of an auricle consists of complex curved forms. It’ almost s completely made of cartilage with the exception of its bottom part, the earlobe. The edges of the auricle have a thickening, called the helix. The antihelix is the next curved section of the auricle, laying inside the helix. In the middle of

August 2007

the auricle there is a cavity, whose front part has a characteristic ledge, known as the tragus. Opposite to the tragus, there’s another ledge, called the antitragus. At the bottom of the ear is the earlobe. Unlike the other parts of the auricle, the earlobe has no cartilage. Its form is extremely diverse. Earlobes can be chubby, flat or angular. They even can be almost absent, merging right into the bottom of the ear. For some people earlobes are located in the same plane as

the rest of the auricle, whereas for others those planes are different. When you start sketching ears, begin with the general form. Start the sketch by defining the axial line, which helps to correctly establish the ear position. At the same time, while building the form of an auricle in three-quarter perspective, pay attention to its position in the space. External outlines of an auricle look like an ellipse. Remember, some ears are close the head, while others protrude away.

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Quick techniqueRealistic ears

The ears are drawn between the top yes and the bottom of the nose. The top of the ear must be in line with the eyebrow, while the point where the ear is attached to the head should be on the same line as the eyes. Mark the ellipse-looking plane of an auricle. Remember, the ear is the link between the head and the neck. Give it the correct proportions – an ear’s width is roughly half of its height. Sketch the general contour of the auricle, and draw the other parts of the ear, in proportion. It’s a common mistake to forget about the proportions and as a result the ear looks deformed. While working on the auricle keep an eye on the different levels of shadows and highlights. thickness, form and character of the helix. First, paint the darkest areas of the form, Think about perspective right from the then you can firm up the volume with the beginning, too. In order to better show help of shadows and highlights. The the volumetric-spatial form of an ear, I correct shadows are vitally important to recommend you sketch its farther parts painting attractive ears. with lighter lines, and nearer ones with strTohneg ecro limnpelse. xity of the painting 3Shadow woon trhke shadows, When working specifically arises from the necessity to you should remember that falling consider proportions, perspective, shadows show not only the original form, character, form, spatial depth, contrast but also the form of the surface on which and tints, to know techniques and they fall. Revealing some parts of the anatomy. Therefore you should be very auricle, don’t forget to coordinate one part attentive during the painting process. with the others and with the general form. These rules should be observed he auricle’s formstrictly at all stages of work. can the sketch and open Painter. Let’s work on the highlights next. You odelling the auricle’s form you first need to mark the darkest and the ust pay attention to the light source; lightest tones. I work with a big, soft t’s important to preserve interrelation brush to show the softness and roundness etween the lines and tone. Lines around of the ear’s forms. he form of the auricle are borders Make sure that all the parts of the ear etween the sections, which will have are coordinated and fit the over

UNI20.tut ears 77 _

Colour Mixer I always use the Colour Mixer palette, especially when painting portraits; it’s one of my favourite functions in Painter. It’s very handy for mixing colours, because it’s the same as a traditional media painter’s palette. You can add cold and warm colours to the base skin tone for creating realistic or fantasy tints of the skin, depending on your painting style.

The reflection’s tone should not be stronger than the tone in the light. Contrasts of shadows and highlights that are deeper in the ear shouldn’t stand out.

nrich with tints add non-saturated lilac tints into ows of the deeper parts of the ear. After that I add cooler, non-saturated pink to the earlobe. Emphasise the cheekbone with highlight, to show a point where the ear is attached to the head. In the final stage of painting of the auricle you must give the painting a sense of completeness, to bring the separate components of the auricle together to a finished form. inishing touches finish the painting, suppress ely darkened sections and sharply utlined edges, and to strengthen nsufficiently outlined edges. I add a troke of saturated pinkish-orange to the hadowy area of the ear between the ntihelix and helix, then make the ighlight on the edge of the curl brighter. If the form is broken up into too many ections, unify it with consistent lighting. he lighting should uniformly fade as the source of light gets farther from the illuminated area. Don’t make shaded parts too dark so that they do not stand out. The parts in the

August 2007

foreground should be more precisely detailed than those in the background.

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