In this tutorial, I will show you the technique that I use to stand for mouths and lips. I will explain the simplest structures to understand how to draw different shapes and expressions. And finally, I will integrate them into a color illustration.
Notation that, in addition to this method, there are many other ways to larn how to draw mouths and lips, merely I will explain the method that I take considered to be the most appropriate and easy to understand.
To make the post-obit illustrations, I take used Clip Studio Pigment EX, but whatever other cartoon software can be used.
1. How to depict a mouth: Simplified structures
First, let us analyze the mouth without the lips, to better clarify its structure.
To understand the mouth, think near a sphere. The (open) mouth would be half of information technology. This is a unproblematic exercise that shows that the mouth is not exclusively a straight line when it is closed and a crescent when it is open, simply that it has its own volume.
In this example, you tin see a mouth in its simplest grade without perspective (image 1) and how it can be imagined with ¾ perspective (images 2 and 3).
2. How to depict the mouth: Primal elements
Now that we recognize that the mouth has volume, we must also take into account that it as well has depth. It is a cavity, and thus it contains important elements that will help us describe the mouth: the teeth, the tongue, and even the gums. You can even go further into other elements such equally the uvula, the palate, all the different teeth, the tonsils, etc. But let united states focus on those three basic features.
On the left is an example of how the outlined elements that make up the mouth can be represented and on the right, is a more detailed estimation of them.
iii. How to draw lips: Simplified structures
Lips are essential elements that connect to the oral fissure. To empathize them, let's try to represent them separately from the oral fissure and in their simplest forms.
In this image, we tin can run across how to depict the lips step by step using rounded, curved, and elongated structures, starting from a direct line and without perspective. Also, proceed in mind that the thickness, width, and length of the lips will depend a lot on the blazon of character we want to pattern.
If it is difficult for us to imagine the mouth with rounded and curved structures, it is appropriate to get-go past drawing flattened areas (as if information technology were low poly!).
In this style, we tin can better grasp which areas take the most volume.
4. Drawing a draft
Key structures
As nosotros have seen in the mouth, there are too key elements on the lips that will help us better empathise and design them.
We must study the Cupid's bow (one), the commissures (or where the height and bottom lips connect) (two), the philtrum (the skin connecting the nose to the rima oris) (iii), the central tubercles (The bottom of the lip under the cupid's bow) (4), the upper lip (v), and the lower lip (six).
Varying these elements produces several lip designs.
v. Different shapes of mouths and lips
Making different lips and mouths is a matter of trying variations in the thickness of the lower or upper lips. Nosotros can mark the Cupid's bow, widen or narrow the mouth, etc. It is interesting to keep trying and see what works best for our grapheme.
A small mouth is usually related to a modest or shy grapheme, and a large oral cavity is for more expressive characters. Thin lips may define a masculine graphic symbol and thick lips a feminine one, although in that location can ever exist exceptions.
Check some examples of lips and oral cavity variations below.
half-dozen. Different shapes of lips and mouths on the same face
Knowing that nosotros tin can vary the size of the mouth and lips, information technology is interesting to endeavour different modifications on the aforementioned character, to see which one fits better.
7. Expressions and emotions through lips and mouths
At that place are many important elements on a face up that assist define expressions. Together with other elements such as the eyes, eyebrows, the mouth and lips are key elements that build different expressions,
Take into business relationship which areas of the oral fissure must exist modified to represent one expression or another; to convey joy, the corners rise, to convey sadness, we draw them lower than usual. To convey anger, we show an open oral cavity (screaming) consummate with teeth and gums.
The lips tin can help transmit dissimilar expressions and emotions: challenging, fearful, sensual, etc. The adjacent image shows some examples of expressive mouths and lips:
8. Dissimilar styles to describe mouths and lips
Once we know the nuts, it is fourth dimension to draw them in different styles to see which one we experience the most comfortable with. In the following image, I wanted to show manga, realistic, cartoon, Disney, and my ain style.
9. Mouth and lips integrated into an illustration
Finally, I would similar to bear witness the procedure of drawing a face from sketch to the last color. I wanted to create a slight expression and proceed the image dynamic while trying to leave of my comfort zone. Information technology is fun and beneficial to design characters with exaggerated and/or marked expressions.
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