Where several young artists are gathered together they can easily draw each other's ears in turn. For, with all the goodwill in the world, we cannot study this feature alone and with a hand-glass.
The ear is oblong, the upper part of which is wide, while the lower part contracts toward the lobe. It bears a slight resemblance to a huge interrogation mark. The ear is composed of so any exquisite curves that it presents a somewhat baffling subject to the pencil of timid young artists.
Look at the ear as one mass and do not at first trouble yourselves with its manifold hollows and curves. Sketch very lightly the oblong shape. By slicing the corners of the upper part, and carving a considerable portion from the lower part, you have the angles of the ear.
Then look at the large and beautiful curve of the outer rim and the flattened upper space which creeps from behind the fold nearest the cheek and swells into a smooth surface dipping down toward the lobe; the orifice itself is a dark and mysterious little cavern tucked beneath the coral-pink projections nearest the cheek.
Having marked and sketched the biggest shapes, we should turn our attention to the folds. The ears of young people are usually of a simple pattern. In the example given, there is only one large fold curving round the upper rim. There is also the deep curve or dimple of the inner part, and this we can shade, following the shape with our pencil and exaggerating rather than losing the indentations; within the outer rim we have a deeper shadow, while the orifice gives us our darkest tone. We might also suggest the shadows behind and under the ear.
The ear that you are trying to sketch may not resemble the ear in this example, but of course it is 'up to you' to draw yours as faithfully as possible. The ear you are sketching may be wider, it may have a more flattened appearance, the lobe may not be pointed.
It is difficult to suggest any rules to help in the drawing of an ear. The main thing to bear in mind is the use of the ear.
