Step 11: Painting the Ear – Portrait of Lisa
Painting the ear. Though complex in shape, the ear can be broken down into simplified front, side, top, and bottom planes, each with its own subtle subdivisions:
Helix
• The outer rim of the ear; curves from the top (catching light) down into side and bottom-facing planes.
• Typically softly lit at the top and warmer in tone where it turns under.
• Antihelix
• The inner Y-shaped ridge inside the helix. It contains both front- and side-facing planes and often sits in partial shadow, but catches reflected light from the ear’s interior.
Concha
• The deep central bowl-like cavity that leads into the ear canal.
• Faces inward and downward, making it one of the darkest areas, especially with overhead lighting.
• Often picks up subtle reflected warmth from nearby skin.
Tragus and Antitragus
• The tragus is the small flap that partially covers the ear canal.
• The antitragus is the small bump opposite it.
• Both are small front- or side-facing planes, usually in soft midtones.
Earlobe
• A rounded, bottom-facing form with a soft, fleshy quality.
• May appear warmer and slightly redder than the cartilage above, depending on blood flow and skin type.
• Often picks up ambient light from the neck or shoulder.
- Light, Shadow, and Color
• Light striking the ear can create complex patterns of light and shadow, especially when coming from above or behind.
• The helix catches the most light, while the concha, antihelix, and canal fall into deeper shadow.
• Use a variety of warm and cool flesh tones—reds, oranges, purples, and neutrals—to capture the subtle shifts.
• Avoid over-simplifying—while the ear is a background player, it shouldn’t be painted flat or overlooked. - Edge Handling and Accents
• Keep the outer contour soft, especially where the ear merges with the side of the head.
• Inside the ear, use a mix of sharp accents (such as the shadow edge between the tragus and concha) and soft transitions to suggest depth.
• The highlight on the helix or lobe can be crisp but subtle—avoid over-accentuating, as it can distract from the eyes and mouth.
By simplifying the ear into major planes and anatomical parts, and carefully observing light behaviour, you can paint it with subtlety and confidence—supporting the portrait’s overall realism without demanding attention.
