Free Guide to Drawing Faces for Beginners

Understanding Basic Face Proportions

Learning to draw faces starts with understanding the proportions that make human faces recognizable. Most adult faces follow predictable measurements that artists use as guidelines. The human head is roughly as wide as it is tall, and this basic shape forms the foundation for all facial drawings.

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One of the most useful proportions is the "rule of thirds" for face placement. When looking at a face from the front, the eyes sit approximately one-third down from the top of the head. The bottom of the nose sits roughly halfway between the eyes and the chin. The mouth typically falls about one-third of the way down from the nose to the chin. These measurements aren't absolute rules—faces vary considerably—but they provide a starting framework that helps beginners position features correctly.

The distance between the eyes typically equals the width of one eye. This means if you draw one eye, you can fit another eye of the same width in the space beside it, and a third eye-width on the other side. This technique, called the "three-eye rule," helps prevent drawing eyes that are too close together or too far apart, a common beginner mistake.

The width of the nose at its base usually aligns with the inner corners of the eyes. The corners of the mouth typically line up with the pupils when looking straight ahead. These relationships remain fairly consistent across different faces and ethnicities, though individual variation always exists.

Practical takeaway: Sketch a simple oval for the head and lightly draw horizontal lines at one-third intervals. Mark vertical centerlines for symmetry. Use these guidelines to place features in their approximate locations before adding details. This prevents common proportion errors and creates a more balanced foundation.

Constructing the Head Structure

Before drawing individual facial features, understanding the three-dimensional structure of the head helps create believable faces. The human head isn't a perfect sphere—it's more like an egg shape with a narrower chin and wider forehead. Building this basic structure first makes adding features much more straightforward.

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Many artists begin with what's called a "Loomis head" method, named after instructor Andrew Loomis. This approach starts with an oval or egg shape, then adds guidelines that account for the head's depth and turning angle. The method involves drawing a vertical centerline down the middle, then horizontal lines to mark eye placement, nose placement, and chin position. Additional curved lines help indicate where the face turns in three-dimensional space.

Understanding how the head appears from different angles improves your ability to draw faces beyond just the front view. From the front, features align symmetrically along the centerline. In three-quarter view (a partial turn), the centerline curves away from straight vertical, and features on the far side of the face appear smaller due to perspective. In profile, only one eye shows, the nose projects outward, and the jaw's shape becomes prominent.

The skull underneath the face determines its overall shape and structure. The eye sockets, cheekbones, jaw structure, and forehead shape all influence the final appearance. Different ethnicities and individuals have varying skull structures that create unique face shapes. Some faces are wider and rounder, others narrower and more angular, based on the underlying bone structure. Beginners benefit from studying these structural differences rather than assuming one formula works for all faces.

Once you understand basic head construction, adding features becomes more accurate. The features sit on top of and follow the contours of the underlying structure rather than existing flat on the page.

Practical takeaway: Practice drawing simple egg-shaped heads from multiple angles. Add the centerline and horizontal guidelines for each angle. Notice how the proportions shift when the head turns. Draw 10-15 of these structural sketches before worrying about detailed features.

Drawing Eyes with Expression and Depth

Eyes are often the most expressive feature on a face and usually the first feature people notice. Drawing eyes that look alive and dimensional rather than flat requires understanding their anatomy and how light affects them. The eye isn't just the iris and pupil—it's a sphere sitting in a socket with eyelids covering part of it.

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The basic anatomy of the eye includes the eyeball (a sphere), the iris (the colored circle), the pupil (the dark center), and the eyelids that cover the top and bottom. The upper eyelid creates a fold of skin above the eye, and the lower eyelid curves beneath. The inner corner of the eye (near the nose) is typically lower than the outer corner, giving eyes a slight tilt that varies between individuals.

Achieving dimension in eyes involves careful shading and highlighting. The iris isn't uniformly colored—it typically has darker values on one side and lighter values where light reflects off it. The pupil is darkest in the center, but leaving a small white highlight (called a catchlight) makes the eye appear wet and alive. Many beginners forget this highlight, creating eyes that look dull or lifeless. The white of the eye isn't pure white—it contains subtle shadows and warm tones that make it more realistic than bright white.

Expression changes dramatically based on eye position and surrounding muscles. When someone smiles, muscles around the eye create wrinkles called "crow's feet" in the outer corners. When shocked, the eyes widen and the whites become more visible. When tired, the eyelids droop slightly and the space under the eye may show shadows. These subtle changes communicate emotion without needing the entire face.

Eyelashes, while seemingly decorative, significantly impact how eyes read. The upper lashes are typically longer and more numerous than lower lashes. However, drawing individual hair-like lines for each lash often looks unnatural. Instead, suggesting the lash line with a slightly thicker, darker stroke appears more realistic. In many styles, darker shading along the upper lash line works better than individual lines.

Practical takeaway: Draw 20 eyes in a row, focusing only on the eye shape and basic shading. Practice the iris, pupil, and most importantly, the catchlight. Don't connect the upper and lower eyelids in a complete circle—leave gaps at the inner and outer corners for a more natural appearance. Notice how changing the tilt or size of the iris changes the direction the eye appears to look.

Shaping the Nose and Mouth

Many beginners struggle with the nose and mouth because they're tempted to draw them with harsh outlines. In reality, noses and mouths are better suggested through shading and subtle line work rather than dark, continuous lines. The nose especially benefits from minimal line work combined with accurate shading.

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The nose has three main parts: the bridge (the upper part between the eyes), the tip, and the nostrils. The sides of the nose don't have sharp edges—they blend gradually into the face. Drawing the nose with just a centerline down the bridge, a small curved line indicating the tip's roundness, and two curved marks for the nostrils often captures it more effectively than outlining the entire shape. Shading on one side of the bridge and under the tip suggests dimension without visible outlines.

Nose shapes vary significantly. Some people have straight bridges, others have curved or bumpy ones. Nostrils can be large or small, wide or narrow. The tip can be pointed, rounded, or bulbous. These variations are what make individual faces recognizable, so it's worth observing real noses to understand this diversity. Different ethnicities have characteristic nose shapes worth studying and portraying accurately.

The mouth consists of the upper lip, lower lip, and the line between them (called the mouth line). The upper lip typically appears darker or more defined than the lower lip because of how light naturally falls on faces. The mouth line isn't a simple straight line—it curves and bends, often more dramatically in the center. The corners of the mouth may point slightly upward, downward, or remain relatively level depending on expression.

Lips have dimension and form. The upper lip has a subtle peak in the center (called the philtrum notch), and both lips have a darker line where they meet. Drawing lips as simple curved lines without considering their three-dimensional form makes them look flat. Adding subtle shading to show where lips protrude and where shadows fall creates more convincing lips. The color of lips is also warmer and more saturated than surrounding skin tones.

Expression dramatically changes the mouth's appearance. A smile pulls the corners upward and may show teeth. A frown pulls them downward. Surprise creates an open mouth with tension in the surrounding muscles. Understanding these expressions and the muscle movements creating them helps draw mou