Learn How to Draw Mouths Step by Step

Understanding Mouth Anatomy and Basic Shapes

Before you begin drawing mouths, it's worth understanding the basic structure underneath the lips. The human mouth consists of several key components: the upper lip, lower lip, the line where the lips meet (called the oral commissure), the corners of the mouth, and the teeth beneath. The mouth sits on the lower half of the face, positioned between the nose and the chin. On average, the mouth width extends roughly from one eye to about the middle of the other eye, though this varies by face shape and individual features.

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When you're starting out, think of the mouth in simple geometric terms. The basic shape of a closed mouth can be represented as an elongated oval or ellipse. This simple form helps you establish correct proportions before adding details. The upper lip typically appears smaller and narrower than the lower lip from a frontal view, and it often sits slightly in front of the lower lip due to the projection of the upper teeth behind it. The lips aren't flat surfaces—they're three-dimensional forms with volume and contour.

Different mouth positions and expressions change these proportions significantly. A smiling mouth stretches wider horizontally, while a sad or pursed mouth becomes narrower. An open mouth reveals the teeth and interior, requiring you to understand how the jaw relates to the skull structure. The mouth's placement on the face also varies depending on the head's angle and whether the person is looking straight ahead or turned to the side.

Practical takeaway: Before drawing any mouth, lightly sketch the basic elliptical shape to establish the mouth's position, size, and horizontal orientation. This foundation prevents common beginner mistakes like placing mouths too high or too low on the face, or making them disproportionately wide or narrow.

Proportions and Facial Relationships

The mouth's relationship to other facial features determines whether a portrait looks balanced and accurate. When drawing a face from the front, the mouth typically sits approximately one-third of the way down from the nose to the chin. This is a general guideline—individual faces vary, but it provides a reliable starting point. The vertical distance between the bottom of the nose and the top of the mouth usually equals about the same distance as from the mouth to the tip of the chin, though again, this changes per individual.

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The width of the mouth connects directly to the width of the face and the position of the eyes. Many drawing guides suggest that the width of the mouth corresponds roughly to the distance between the pupils of the eyes, or slightly narrower. When someone's mouth is closed and relaxed, the corners typically align somewhere between the center of each eye and the outer edge of each eye. This proportion helps ensure the mouth doesn't look too wide or cramped for the face.

In profile view, the mouth's projection forward becomes visible. The lips project outward from the face, with the upper lip usually protruding slightly more than the lower lip in profile. The angle of the mouth line (where upper and lower lips meet) tilts slightly upward toward the back of the mouth, rather than remaining perfectly horizontal. This subtle angle is crucial for making profile views look natural rather than flat or awkward.

The thickness of the lips also matters. The upper lip typically has a defined edge where it meets the skin above it, while the lower lip transitions more gradually into the chin area. The space between the nose and upper lip (called the philtrum) has a recognizable shape—a vertical groove with two small rounded bumps at the top where the upper lip begins.

Practical takeaway: Use basic facial landmarks to position the mouth correctly. Measure the distance from the nose to the chin, and place the mouth roughly one-third down from the nose. Use the eye positions as a width reference. These proportional relationships work across different faces and help prevent the mouth from looking misplaced or incorrectly sized.

Drawing Basic Mouth Shapes and Closed Lips

The simplest mouth to draw is a closed mouth with relaxed lips. Start by lightly sketching the elliptical guide shape mentioned earlier. This oval should be wider than it is tall, tilting slightly upward at the corners if the person is smiling slightly. Once you have this basic shape, you'll refine it into the actual lip line.

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The mouth line (where the upper and lower lips meet) is rarely a simple straight line. Instead, it has a gentle wave or curve. In the center, directly under the nose, there's often a slight dip or valley. The line then rises slightly toward each corner of the mouth. This subtle S-curve appears in most relaxed mouths and makes them look natural rather than wooden. At the corners, the mouth line meets at a point or sharp angle called the commissure.

To draw the upper lip shape, start at one corner and follow the mouth line toward the center. As you approach the middle, the upper lip curves downward and inward slightly, creating the distinctive shape of the upper lip. Many people describe this as looking like an "M" shape when viewed closely—there are two rounded bumps separated by a subtle valley down the middle. The lower lip's edge is typically a smoother, rounder curve that mirrors the upper lip but is often fuller.

Don't outline the entire mouth with a hard, dark line. Instead, the mouth's edges fade in some areas and appear darker in others. The line where the lips meet is usually the darkest part of a relaxed mouth. The outer edges of the lips blend gradually into the surrounding skin. Use softer lines where the lip edges transition into the face, and save darker, sharper lines for where the lips meet each other.

The upper lip typically appears darker or more defined than the lower lip because light usually hits the lower lip directly, creating a highlight or lighter area. This lighting difference helps show the mouth's three-dimensionality. Add subtle shading under the lower lip's edge to show how it projects forward from the face.

Practical takeaway: Sketch the basic mouth shape lightly, then refine the upper and lower lip edges with careful curves. Remember the subtle S-curve of the mouth line and the M-shape of the upper lip. Use varying line weight—softer edges where lips blend into skin, darker lines where lips meet. This contrast creates a more realistic, three-dimensional appearance.

Shading, Texture, and Adding Dimension

After establishing the basic shapes of the lips, shading brings them to life and creates the illusion of form and volume. Lips aren't uniformly colored—they have lights and shadows that reveal their rounded, three-dimensional structure. The center of the lower lip typically receives the most direct light, appearing lighter or even featuring a bright highlight. The edges of the lower lip fall into slight shadow, particularly underneath where it projects forward.

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The upper lip usually appears darker overall because it naturally receives less direct light—it's angled slightly upward and backward compared to the lower lip. However, the very center of the upper lip may still have a slightly lighter area. The shadows under the upper lip and where it meets the lower lip create definition and show their separation. These shadows shouldn't be harsh; they should transition gradually into the lighter areas.

Lip texture is subtle but important. Lips have fine vertical lines running across them, created by the way the skin naturally folds and creases. These lines are most visible on the upper lip and become more apparent with age. Rather than drawing many individual lines, suggest this texture with gentle, short hatching marks or a slightly uneven surface. Real lips aren't smooth and plastic-looking—they have character in their texture.

The inside where the lips meet often appears slightly darker and sometimes has a hint of the color showing through from inside the mouth. In realistic drawings, this line is rarely pure black—it's typically a dark brown, dark red, or dark purple depending on the person's skin tone and coloring. The corners of the mouth fade gradually; they aren't harsh points but gentle transitions.

Light reflection creates what's called a "lip shine" or highlight on the lower lip, typically in the center. This highlight doesn't need to be bright white—a light, warm tone works well. The highlight area is usually small and off to one side rather than perfectly centered. This catch light makes lips appear moist and alive.

The skin immediately around the mouth also needs attention. The area directly above the upper lip (the philtrum area) has its own light and shadow. Subtle shading under the chin where it meets the lower lip creates separation between the mouth and neck. These surrounding details frame the mouth and make it feel integrated into the face rather than floating.

Practical takeaway: Apply shading strategically to show the mouth's rounded form. Keep the center of the lower