How to draw and shade a nose
Getting started: the nose structure
Welcome, everybody! In this Clip Studio Paint tutorial, I'm gonna show you how to draw a nose from the very structure to the shading itself. We are gonna use a black-and-white shading method, without colors. It'll make you understand shadow placement easier.
First thing first, the nose structure: we can decide it in blocks to represent the different parts of it: for example, the upper blocks represent the part of the nose that's in between the eyebrows and it's attached to the eyes. The central part defines the frontal part of the nose! And the part at the very bottom, (the one that roughly looks like a pyramid) represents how you see the bottom of the nose from a frontal perspective.
Using the same structure, we are now gonna create the side view of the nose:
the position of the blocks represent the same thing as the frontal one, so you can use the previously-created structure to place the side view.
Using the structure that was previously created, define the shape of the in a better way, creating the nostrils and all the other elements: remember that now you have to use softer lines.
The lines become more oblique, and the nose wides up a bit. For a better understanding, you can watch my tutorial to look exactly where I placed the lines!
To work on top of the box structure I use a rubber to make it look as light as possible and being able to work on top of it without being disturbed by the lines.
You can also lower the opacity of the entire layer and create another one on top of it.
You can also create lines that connect the frontal and side view to be sure you're creating the nose at the same level.
Understanding the placement of the shadows
Select three major colors, and we're going to use them to define the depth of the nose.
Starting with the lighter shade, I'm gonna fill the entire drawing with that shade color.
It's gonna be our base, and also our frontal view: Let's imagine that the nose is being looked from the very front, and so does the lighting: it arrives directly at it from the front. This will create a lighter effect on the bridge of the nose, in the very center, and on the sides of the nostrils.
After placing the base, lighter shadow, we are gonna select a darker tone to define where the "lighter" shadows are: which, in this case, are situated right at the side of the entire nose.
The third and darker shade is going to be used to define the very bottom of the nose: that part is going to be the darkes of em all because the light does not reach it.
Creating the nose and deleting the structure
As we did for the second part of the nose structure, we are gonna need to make the structure lighter: I personally don't use the shadows when I do this process since they can be in the middle and make the process harder.
Follow the lines of your "skeleton" and make them softer, deleting the thick lines that are not necessary, such as those that define the bridge. As you can see, mines are lighter and softer than the ones I used in the blocky base. You can always use a real nose to look at as a reference if you want to add more and more details.
Coloring our nose: frist method - cell shading
To do this simple shading, I personally like to use the Lazo tool: this tool will help you select certain areas without having to be restricted to a shape. Create the shadows using the Lazo tool and fill in the selected areas with the darker shades of grey that you selected! It's that easy!
Following the lines of the nose and using the "Blocky-shadow-reference" will help you understand where you want to put your shading. use the mid-tone shadow to create the major shadows, such as those along the bridge of the nose.
Use an even darker shade to define the bottom part as we previously did, and then I personally used an even darker to dark-color the center of the nostril, where no light is going to reach.
Method 2: Adding a gradient on the cell-shading
To to this super simple shading, block the opacity of your layer (you can see how in my video!) and add a lighter gradient to it. As you can see, it creates a simple shade that's a lot softer and interesting than the previous one. Be aware that these methods work a lot better on a line art piece!
Method 3: Bleding your shadows with a blender tool
Once you're satisfied with your shadow colors and placement, it's time to go ahead and look at the third method. If you're not yet satisfied and are searching for a more realistic or simply softer look, this method is for you:
Merge all the layer into a single one (Right-click on the layer and select "merge with layer below") until all your layers are unified into one: now, select the blend tool and blend everything together until you're satisfied and it's even.
Method 4: Pittoric Method
This method is very similar to the blending one:
first of all, you have to merge ALL the layers, but instead of blending with the tool, you're gonna blend with the brush herself. As shown in the picture, you're gonna have to establish a POINT A and a POINT B, those are the shades we want to merge together. To do this, use a brush that doesn't have a full coloring capacity, such as watercolor or airbrush brushes. Using this brush, keep on staking a color on top of another, by picking the mid-shade that come out as a result from the previous color placements.
You can have a better and more-clarified understanding in my video!