FRONTAL FACE SCHEMATICS

Facial proportions of the face of Christ as well as generic faces of men and women

The face is first divided into three equal parts along the vertical axis. The upper part is the

forehead, the middle part is the nose, and the lower part is from the tip of the nose to the chin.

The width of the face at the cheekbones is equivalent to 21/3

lengths of the nose. The

narrower part of the face is equal to the length of the nose, and the wider part is equal to the

length of the nose + 1/3 of the length.

The general shape of the face is ovoid (egg-shaped), an oval wide at the top and tapering at the

bottom. The four corners of the eyes are positioned on a straight line. The larger eye's length

is that of the half of the length of the nose, and so is the line of the mouth, when there are no

mustache. Panselinos made the length of Christ's mouth equal to 1/3 of the nose; Rublev

made it 1/4 of the nose, and his teacher Theophanes the Greek made it 1/2 length of the nose.

On the mosaics of Choras Monastery, in the beautiful images of Christ, the length of the mouth

is 2/5 of the nose. Theophanes of Crete made the line between the lips equal to the half of the

nose, and his eyes smaller than the mouth (unlike Panselinos or Rublev); however, he didn't

use these measurements universally. In his famous Pantokrator, the eyes are bigger than the

mouth.

I would suggest, for the best harmony, to make the line of the mouth the same length as the

length of the smaller eye (Christ's right eye), which would be about 1/3 of the length of the

nose. Important role in the size of the mouth plays the amount of illumination of the lower

lip. To make a mouth "larger", all is needed to accent it more with light, which will make it

appear bigger, bringing optical zoom around the mouth. This is was a method used by

Theophanes of Crete.

The distance between the pupils of the eyes is the same as the length of the nose. The ears are

placed between the lines passing through the top of the nose and its tip, and they are the same

size as the nose. The length of the ear is twice its width; on the icon of Christ, locks of his hair

go over the top of the ears and partially cover them. Midway between the tip of the nose and

the lower point of the chin is the bottom of the lower lip. In young saints and angels, we

extend the imaginary line of the mouth (the line between the lips) to the right and to the left,

and at the point of meeting the edges of the face, we draw lines for the neck. The eyebrows

start from the upper corners of the nose's trapezoid structure. The lines of the eyebrows,

eyes, nose and mouth are parallel to each other and are perpendicular to the vertical line that

passes through face between the eyebrows and the center of the mouth. The area allotted for

hair is approximately equal to the size of the nose.

AB = BC = CD = DE

GF = CD = Fh1 and also = AB = BC = DE

FH = Fh1 + 1/3 of GF

The line AE divides the face into two slightly unequal parts. So the left side (that is, our

left; it is Christ's right side) is more narrow than the other side. The eye on the narrow

side is painted slightly smaller than the eye on the larger side. The narrower side might

be considered the light source for the rest of the face. Hence the shadows near the

nose and on the cheeks are wider on the larger side of the face.

In young saints and angels, we extend the imaginary line of the mouth (the line between

the lips) to the right and to the left, and at the point of meeting the edges of the face (A

and B), we draw the lines of the neck.

To identify the point B, through which the life for the eyes will be drawn, we divide the

nose into 4 equal parts (this is usually the proportion for young adults, men and

women). For Christ, occasionally we might use 5 parts, and for elders up to seven.

The line, on which the eyes lie, passes through the point B.

The corners of the eyes (F, G, H, and I) lie on that straight line.

The length of the "larger" eye (the distance between H and I) is equal the half the length

of the nose (CE or AC or BD); the distance between F and G is slightly smaller than the HI

distance.

The eyebrows start from the corners of the trapezoid structure of the nose (the

triangular form between A and B)

wider side narrower side

The nostrils are placed slightly above the tip of the nose.

Midway between A and C, mark the point B, which will be the lowest point of the lower

lip.

The length of GF is equal to Fh1, with h1 being the point where shadow begins on the

wider side. (Just a reminder, Fh1 is equal to the length of the nose).

The length of (h1-H) is equal to 1/3 of the length of the nose. Therefore, the width of the

face at the cheekbones (from G to H) is equal two lengths of the nose plus 1/3 of the

length of the nose. The mathematical relationship is therefore as follows: GF = Fh1 = CD;

GH = Gh1+h1H

The illuminated area of the face is circular in form. The center of that circular spot rests

on the upper edge of the nose, and the radius of that circle is equal to the length of the

nose.

The head of Christ is written into a circle. The center of this circle is located near the left

eye and is equidistant from the outer boundary of the hair in four contra-posing points

C, D, E, and F (as shown).

Also, the point B - the tip of the chin - is also equidistant from the point A.

Proportions of Christ-child (and of generic children/infant faces)

Proportions of the children's faces differ significantly from the faces of adults.

The particular attributes of such faces are as follows:

1. A very large forehead

2. A small nose

3. An almost non-existent chin

4. Compound, curved lips.

The forehead is the double height of the nose's length. The forehead has a shadow near

the hairline; so does the nose on the wider side. The second (intermediate) light on the

forehead has the radius of the nose's length.

The width of the face at the cheekbones is three measures of the nose. The ears are

slightly bigger than the nose. The height of the hair is slightly larger than the length of

the nose, or one of the segments of the forehead.

• The distance between the pupils of the eyes is 11/3

of the nose.

• The size of the eye is 2/3 of the nose.

• The width of the bulb of the nose (the widest part) is 1/3 of the nose.

• The length of the mouth is smaller than the length of the nose but larger than

2/3ds of the nose.

• The length of the lower segment of the face is also modified: it is one length of

the nose plus about 1/4 from the tip of the nose to the tip of the chin; it is one

length of the nose from the tip of the nose to the end of the lighted area on the

chin.

The multiple axes of the child's face

Here is a set of mathematical proportions:

BD = 2DF

DF = FG

IJ = 3DF

ED = 2/3 of DF; EF =

1/3 of DF

The length of the eye is 2/3 of the nose

AB = BA1 = A1B2; conditionally, A1B2 is slightly bigger than AB

The width of the nose bulb is 1/3 of the nose.

FI = IG

FH = 1/3 of FG

The distance between the pupils of the eyes is 1+1/3 of the nose.

The proportions of the elements of the face of a young adult

The shape of the eye is that of an almond. Its width is twice its height. The iris almost touching

the upper eyelid.

The upper eyelid's curvature is more pronounced than that of the lower eyelid; however, it

ever so slightly flattens in the middle. The line of the upper eyelid widens in the middle and

tapers off at the ends.

The lower eyelid line starts wide at the outer corner but tapers off towards the nose .

The iris is slightly oval in shape.

The fold line between the upper eyelid and the eyebrow runs nearly parallel to the eyelid. The

distance between this line and the eyelid line is wider in the middle than at the corners of the

eye.

The placement of the iris and the pupil change the expression of the eyes significantly. For

instance, if the iris is does not touch the upper eyelid and is positioned too close to the lower

eyelid, the expression of such eyes is intense and wild. The same happens if the eyeball is

highlighted too much near the upper eyelid.

To give the eyes a serene expression, make sure the upper eyelid slightly covers the portion of

the iris, but the pupil just rests on the line and is not covered by the eyelid. Also, place the

light on the eyeball in the center, next to the iris, and only on one side.

The expression of the lines between the eyeball and the brow should be peaceful; failure to do

so will result in an angry look.

Eyebrows also play an important role in facial expression. A serene eyebrow begins at the root

of the nose, rises above the eyeball to the brow ridges, and then descends to the level of the

upper eyelid.

When the middle portion of the brow raises high, the expression of intensity is heightened.

The same happens if the outer ends of eyebrows points at the ears. Adding small vertical lines

between the eyebrows impart rigor in expression; this, however, has so much power that it

eliminates any hint of peacefulness we might try to create in the image. Generally speaking,

every single vertical line on the forehead - bright or dark - imparts a forceful expression. Also,

great care must be exercised when placing the final highlights on the brow ridges above the

eyebrows; when they run parallel to the eyebrows, they may come across as wrinkles. To

avoid this distortion, many old masters would light this area well with a wide arc, and then run

the highlight lines radiating from the brow ridges rather than run parallel to the eyebrows.

When looking at the photographs of the old masters' work, observe how they managed to

treat this sometimes problematic area.

Structure of the eye

The length of the eye (DL) is two heights of the eye (FO)

The line of the upper lid is thick in the middle (DFG) and ever so slightly flattened.

It tapers off at the ends (D, H)

The line of the lower eyelid is thick at the point L but tapers off as it goes toward P.

The round line of the iris (IJK) thickens at the bottom (J).

The skin fold above the upper eyelid runs nearly parallel to the eyelid, but the distance

at the ends is smaller than in the middle; that is to say, the distance BF is slightly

wider than AD and CH.

The size of the iris: the distance between I and K is greater than DI and KL.

The shape of the iris is oval, and the upper eyelid covers the part of it; the pupil only

touches the line, does not go under it. The distance JO is rather small.

Here is a geometric reduction of the physical shape of the eye:

Changes in expression

The serene expression

The effect is created by placing the eyebrows on a horizontal line. Each eyebrow

repeats the rhythm and the curvature of the upper eyelids. Two thirds of the iris are

occluded by the upper eyelid. The pupil rests on the upper eyelid.

Expression of surprise

The outer ends of the eyebrows are lifted, the iris in the center of the eyeball, and the

whole eye has greater height. The pupil is in the center of the eye.

Expression of horror

Eyebrows angle. The irises are inset into the lower eyelids. The pupils touch the lower

eyelid. Vertical wrinkles between the eyebrows create the expression of utmost tension.

The mouth

The schematics of the mouth.

AB = CD = DE

(the entire line of the mouth may vary from 1/3 the length of the nose, to 1/2)

Essentials of constructing the mouth:

The upper lip is somewhat thinner than the lower lip. The proportion is about 2:3.

AB = 2; BC = 3

The lower lip is slightly wider than the upper lip and all three lines almost aligned. In the

middle of the lower lip, the curvature is lessened.

The ears

Harmonious proportions of the ear

The curvature AB is parallel and concentric to the direction of the cheekbone.

The shape of the ear follows the arrow as shown.

Тhe length of the ear is 2 lengths of its width

(BG = 2ND)

The upper, outer curve (ABCDEF) and the

upper inner curve (IJKLM) run in parallel.

The lower part of the ear (HMFG) is the

earlobe. Note the protruding tragus (in the

NIMH segment)

The axis that runs through the length of the

ear is parallel to the line of the cheekbone,

and has the same curvature.

The Ears are drawn into the space between the lines AB and CD. In this drawing, we

made the ears a bit smaller, leaving some space between the ends of the ears and the

lines.

The neck lines begin at the height of the line EF, the line that is an extrapolation of the

line of the mouth.

The nose

The bulb of the nose and the nostrils take up one third of the length nose.

Caution should be exercised when modeling the face. In some places, transitions from

dark to light are gentle and gradual; in other places, rather abrupt. Learn from old

masters how to illuminate the areas under the eyes, because these areas have

expressive power.

In young people, the light enters on one side of this area and half-illuminates the

shadowed other side. Also, in young people, the shadow extends parallel to the life of

lower eyelid, while in older people these shadows become longer and darker and sag

into the cheekbones.

Female youthful faces should have a nice and spiritual expression, when the eyes are

well written and are large, with the dark tones emphasizing the upper and lower eyelids

only from the side which is closer to the ears, that is, from the outer corner of the eye to

the middle of the eyelid. The forehead of young females should be modeled as one

single area, without emphasizing the areas above the eyebrows that might stand out

like islands.

The same is for young men, only their chin (that is, if there is no beard), is modeled

more extensively down to the lower line of the jaw, and the brow ridges can be

emphasized but only with lighter colors, without the dark tone of proplasmos

underneath creating deep crevasses. This can be achieved by modeling the forehead

first as one entire area, then taking the color of the first light (very transparently) and

shadowing around these facial structures. Thus these "shadows" are much more gentle,

and the general effect is that of strength and youthfulness.

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