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The Secrets to Drawing: The Nose and Mouth

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Lesson Description

Lesson Twenty-Three of The Secrets to Drawing Course focuses on the essential facial features of the nose and mouth. These features are critical in capturing likeness, expression, and character in a portrait. In this lesson, students learn how to draw the nose and mouth from start to finish using graphite pencils on white drawing paper. The lesson emphasizes proper structure, proportion, and shading to create realistic and expressive results.

Introduction to the Nose and Mouth

The lesson begins with an overview of the anatomy of the nose and mouth. Matt Fussell explains that understanding the underlying structure of these features is key to accurate depiction. For the nose, students learn about the bridge, nostrils, tip, and the subtle planes that create shadows and highlights. For the mouth, the focus is on the shape of the lips, corners, cupid’s bow, and the relationship between the upper and lower lips.

Matt emphasizes that while every individual has unique features, the nose and mouth follow general proportional guidelines that help create balanced and realistic portraits. Observing these features carefully ensures that drawings convey both accuracy and expression.

Step 1: Establishing Proportions

Students begin by lightly sketching the basic shape of the nose and mouth. For the nose, Matt demonstrates how to map the bridge, tip, and nostrils using light guidelines. Attention is given to the relationship between the nose and surrounding facial features, ensuring proper placement and proportion.

For the mouth, students mark the horizontal and vertical alignment to establish the width, corners, and central axis of the lips. This framework provides a foundation for accurate feature placement and helps prevent common mistakes such as misaligned lips or disproportionate nostrils.

Step 2: Drawing the Nose

Once the basic structure is in place, students focus on refining the nose. Matt demonstrates how to define the nostrils, tip, and bridge with gentle contour lines. Shading is introduced to suggest the three-dimensional form, emphasizing the planes of the nose and the way light interacts with its surfaces.

Graphite pencils of varying hardness are used to build depth, with softer pencils creating darker shadows and harder pencils maintaining lighter midtones. Matt guides students in blending shadows smoothly to produce realistic transitions and volume, while maintaining the subtle highlights that give the nose its natural shape.

Step 3: Drawing the Mouth

Next, students move on to the mouth. Using the guidelines, they carefully outline the upper and lower lips, paying attention to the curvature and proportion. The corners of the mouth are shaded to show depth, while the central area of the lips is left lighter to suggest form and highlight.

Matt demonstrates how to layer graphite to capture the subtle tonal differences in the lips, creating realism and dimension. Shading is applied along the edges and within the lip surfaces, blending carefully to avoid harsh lines while preserving texture. Students learn to observe the interplay of light and shadow, which gives the mouth its three-dimensional appearance.

Step 4: Adding Detail and Refinement

With the basic forms established, students focus on adding detail and refining the nose and mouth. Matt shows how to adjust the subtle contours of the nostrils and lips, refine edges, and deepen shadows for enhanced realism. Highlights are maintained or gently lifted using an eraser to create contrast and reflect natural light on the surfaces.

Students also practice adding texture to the lips and the area around the nose, enhancing the lifelike quality of the drawing. By paying attention to subtle nuances, the nose and mouth begin to appear three-dimensional and expressive.

Step 5: Final Assessment and Finishing Touches

In the final stage, students evaluate the overall balance and proportion of the nose and mouth within the context of the face. Matt encourages a careful review of shadows, highlights, and alignment, making small adjustments as needed. Additional shading or blending is applied to refine the realism and unify the drawing.

This final assessment ensures that the nose and mouth work together harmoniously and appear natural, providing a strong foundation for complete portrait drawing in subsequent lessons.

Benefits of Studying the Nose and Mouth

Learning to draw the nose and mouth develops students’ observational skills, understanding of light and shadow, and ability to capture expression. These features are essential for portraiture, conveying both likeness and personality. By mastering proportion, structure, and subtle tonal variation, students enhance their overall portrait drawing abilities.

Mastery of the Nose and Mouth

By the end of Lesson Twenty-Three, students have completed a graphite drawing of a nose and mouth from start to finish. They have learned to construct accurate proportions, render three-dimensional form through shading, and add realistic details. This lesson strengthens the foundation for full-face portrait drawing, building confidence and technical skill. Mastery of the nose and mouth equips students to create expressive and believable portraits, expanding both their technical proficiency and artistic observation.

Lesson Materials

Graphite pencil, white drawing paper.

Lesson Resources

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Your Instructor
Matt Fussell - Instructor
Matt Fussell

Founder of The Virtual Instructor, artist and teacher. Matt makes learning art easy to understand and enjoyable.

Lesson Discussion

  1. I really liked how you mentioned, there’s no real right way to draw this. I agree because everyone is so different when it comes to proportions, and also everybody does draw differently too. Also liked how you’ve mentioned that proportions are important, but nothing can beat drawing what you truly see. I’m learning so much!!

  2. These lessons what I’m coming to the end of secrets to drawing course are great and it will lead me straight into your portrait course which I’m excited to start as I’ve enjoyed learning about the facial features and how to make them very realistic.
    As I was doing the lips I was thinking god these are hard to do the cross contours but as I’ve worked on it then took a step back in realised that I was doing better than I thought !!!!! My lips do look realistic as does the nose and eye before that 🙂.
    Ears & hair next then I’ve completed one course apart from doing the pastels and oil pastels lesson, I want to do pastels at a later time so I’m leaving these out as I wanted to get cracking on the face, I intend to do pastel landscapes and also coloured pencil course next , I e successfully completed secrets and I’ve seen such an improvement, of course I still have to practice sone of the stuff and I’ve got plenty of projects as well to do this.
    Been a great course as I know far more now than I did before, I did a drawing of Morrissey before I saw your site and started the course, I looked at it the other day and the shading is atrocious lol but hey you always say keep older artwork and you right it’s great to see how far you have come, I would recommend this drawing course to anyone starting out if they want to improve as artists.
    Cheers Matt x

  3. Hi Matt, thanks for the video. I have a huge doubt… Once I heard that in order to bring things closer or backwards, we should look at the value of the background. If the background was light, then if we used a light value, things would go back to our view, instead of coming closer, or protruding. And if I wanted to bring something closer in a light background, we should assign it a darker value… This would be exactly the opposite of your rule, which I have always heard of like that, that lighter values protrude and darker ones recede. Thank you. Kind regards,

    • Hi Veronica,
      Sorry I’m a little late on this one. What you’re saying is true for landscapes and scenes that have atmosphere. We see greater contrast in value when objects are closer to us and less contrast when they are farther away. What I am referring to is the behavior of light when it is above the subject. When light comes down on the subject, objects (like the nose) that protrude will “catch” the light. This creates a lighter value on the top (where the nose protrudes) and a darker value underneath (where the nose recedes). So, in essence, if the light is coming from above, features of the face that protrude are lighter on the top. Where the nose recedes back towards the face, the value is darker.

  4. Hi! Matt, I am an artist but didn’t know how to draw realistic items. However, with the introduction to the Secret of drawing has opened my eyes to new techniques. I really enjoyed the color pencil and facial parts. Nevertheless, I found this first course very informative. I look forward to more in depth lessons. This is amazing I am so excited to learn more.

    Wanonieca Haynes

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