Three-quarter face schematics

The other most common position of the face is "three quarters", which means there is a 3/4 displacement of the central axis of the face. This type of depiction of a person changes some of the proportions and modifies the shapes of the face. First of all, the central vertical axis, being a straight line in full face, becomes a curved line, due to the spherical shape of the head. This curved axis divides the face into two unequal parts. All the parts of the face (the brow, the eye) that are on the farther side of the face are drawn at the same height as the parts on the closest side of the face, but their width is reduced. All the shading (and lighting) follows the same principle.

This is a geometric representation of the head and the axis of symmetry. On the left, the head is represented by a sphere and the vertical axis is the ABCD line. This axis divides the sphere into two symmetrical, equal halves. On the right, the same axis is now curved, as the sphere is turned 3/4. It optically divides the sphere into two unequal parts.

The both eye's placement does not change from what it is in the full face, nor does the height of left eye (the distance from the upper eyelid to the lower) differ much from that of the left eye. The left eye, however, is wider than the left eye (from corner to corner). A new element is introduced - the ocular indentation A; its placement should be on the imaginary line that passes through both lower eyelids.

The axes of the face in three-quarters view The axis EFGI that goes through the center of the face is a curved line. It runs parallel to the outer curved line BC and both lines have the same curvature. The distance from the central line EFGI to the AD (ear line) is two and a half times greater than the distance between the EFGI and the outer line BC. The mathematical relations are as follows:

EF = FG = GI AE = 2EB + 1/2EB GH = 1/3 of GI

Notice that the point E is not on the same line as the central curved axis ABCD. The line of the nose BE does not coincide with the direction of the vertical axis at three quarters view. (For more information on this feature, see "Position of the nose in relation to the nasal axis in 3/4 turn").

In the three-quarters view, the central axis divides the mouth into two unequal parts; AB is greater than BC.

SUGGESTED EXERCISES ON PAPER using a soft pencil (4B), an eraser, and white Cont crayons on gray or brown paper

This is the best way to practice iconographic drawing. The materials needed are not at all that expensive (for instance, you can even use cheep brown paper bags), but they give excellent results because it is easy to imitate both shades and light in the same way we do in iconography with egg tempera. The paper must not be white but medium-dark gray or light brown. One can purchase multiple sheets or rolls of such paper cheaply from warehouses and in large quantities. Cut these sheets into squares of about 50 x 50 cm and rectangles 50 x 25 cm (20 x 20 inches and 20 x 10 inches respectively). The copies of the prototypes should be of the same size as the intended drawing, or twice as large. Later in study we will work on smaller or larger copies. It is essential to have a hard cardboard 50x70 cm to attach the paper to with two clips or painter's tape at the corners. The pencil used should be of medium hardness (4B), which neither too hard nor too soft so that the tip does not break off easily.

Begin with sketching the general design with gestural lines. Lightly mark the auxiliary points and the axes to determine the position of the facial features. Then draw these features more decisively. Then do more precise linework with darker lines - this is done by pressing the pencil harder. The reason why we use dark paper and not white paper is because the tint of the paper imitates the proplasmos, that is, the "shadow" tone of the face. So when we proceed with modeling, we will do so with white chalk (Cont crayon sticks or white chalk pencils). First, we cover all the needed areas with chalk, and then rub the surface with our fingers. The lines of chalk will turn into a uniform smooth surface, and will become much less light and bright. At the edges, the light color will fade into the darker color of the background, thus achieving smooth transitions. This first step is equal to the first light of egg tempera. Going with chalk over the same surface will give us the second and the third lights. The same goes for shadows. Just as rubbing the light areas with your finger gives a diffuse and smooth transition of light tone into the darker tone of the paper, we can do the same with dark 4B pencil. When we want to put a shadow, pass the area with pencil strokes, then smudge it with your finger, achieving a uniform dark surface. For darker places and darker lines, just press the pencil harder into the surface. It is much easier to achieve nice results with chalk and pencil than with other materials. If we do exercises on white paper, we should only use pencil, no chalk. Mostly, this is useful to practice the proportions of the face and body. Such sketches are prone to smudging. If you like the results and want to keep it, spray it with a special varnish or fixative, sold for that purpose at art stores. You can also use an eraser to delete unnecessary strokes and leftover chalk, and generally fix mistakes. We sometimes use eraser to create the lightening effects instead of white chalk when we work on the surface already covered with graphite. Just cut your eraser diagonally, so that the wider part is for wide sweeps, and the sharp side is for the thin lines. If you want to imitate the color of the prototype, use pastel or colored chalk.

This 3/4 turn is not random; there is a deep reason why we find it so often in iconography. When an angel is shown to worship Christ and venerate Him with a bow, his face is not painted in profile as it probably should have been, but instead the head turn is 3/4. In this manner, an angel's face is slightly directed at the viewer, initiating contact. Some faces are indeed painted sideways, in profile - usually the faces of people with whom the viewer is unlikely to develop a relationship - Judas, the Pharisee etc. Very occasionally in iconography, we find faces that turn more than 3/4. In all these cases, the spatial positions and the shapes of the nose, the mouth, and other parts of the face change significantly. For your own study, acquire a selection of the best faces of saints in the 3/4 head turn. Study each of them separately; they will reveal the secrets of hidden harmony and expression. Then make some basic design of the initial axes and boundary lines. Even though studying the design of a face of various saints by making copies of icons is a good method of learning, the knowledge and understanding of harmonic proportion will allow you to paint these faces "from inside" rather than from "outside", tracing prototypes. This way of studying iconography is most enjoyable as we approach icons in the way of a builder - with an architectural design, scaffolding, measurements, proportions etc.

The sphere on the left has many meridians but only one equatorial line (a horizontal diametrical section from C to D). Let's think of this sphere as a schematic representation of a head. If we look at a full frontal face, the straight vertical line AB is the axis of the nose ("the nasal axis") However, if the head is turned slightly to the left, the nasal axis is the curved line AEB. When the face looks straight, the line on which the eyes are positioned ("the ocular axis") is the straight horizontal line CD. If the face looks slightly downward, the ocular axis becomes the curved line of CFD. If the head is tilted slightly upward, then the ocular axis is CGD.

Panselinos (self-portrait)

1. Designing the head with 3/4 turn, using intersecting axes

1. First, we draw the nasal axis AB. Its slight, open curve determines the tilt of the head. The points A and B determine the size of the head, along with the hair.

2. Divide the AB curve into four equal parts, marking the points ACDEB. The AC

segment is for hair, CD is the forehead, DE is the nose, and EB is from the tip of the nose down to the edge of the chin. The DE segment (the length of the nose) is your basic unit of measurements for the rest of the face.

3. On the AB axis, mark the point F just below the point D, at about 1/5th length of

the nose. Through this point, draw the line GH, perpendicular to the nasal axis AB; this is the ocular axis.

4. The segment DE is the nose and therefore is our unit of measure. On the GH line,

on each side of the point F, create two points I and J, at 1/2 length of the nose. The point J is the pupil of the larger eye, and the point I is the outer corner of the smaller eye.

5. Put two more points on the ocular axis, K and L, both at the distance of the nose

from J. These mark the boundaries for the hair. We should now have the proportion: IJ = JK = KL.

6. Above the point F, located on the intersection of the ocular and nasal axes, place

the point M on the nasal axis, at the distance of 1/2 nose above the point F. This is the upper edge of the superciliary arches (the protrusions above the eyebrow). Draw the line MN perpendicular to the nasal axis and parallel to the ocular axis.

7. Build the three-segment structure of the forehead, CONI. The indentation just

below the point I should be on the level of the lower eyelid. 8. Mark another indentation, the point P at the level of the tip of the nose. This is a

hollow of the cheek, a very slight indentation. 9. As it was mentioned above, the points K and L are the boundaries of the hair.

Draw the arches AL and CK. The point J is the pupil of the larger eye, and it will also serve as the center for the halo as well as the overall round shape of the head.

10. Extend the CK curve a bit slightly below the ocular axis, to about 1/3 of the nose-

length, and mark it point Q. It is the middle of the ear. 11. From the point B, extend a short line, perpendicular to the nasal axis,

approximately at the same distance as FJ. Mark the point R. Connect the points Q and R with a diagonal line. This diagonal line is the boundary for the jaw line.

This is just one method. Here is another method of designing a 3/4 turn, with the use of circles.

2. Designing the head with 3/4 turn, using circles

Fig. 1

1. Draw a large circle which would define the size of the head; find its center (J).

2. Draw a vertical line X-X1 through the center of the circle. This line is not straight but is slightly convex, and its tilt defines the desired tilt of the head. Next, draw another line Y-Y1, perpendicular to X-X1.

3. Mark the intersection of these two lines as point J; this will be the pupil of the

greater eye. Find the middle of the JY1 segment, and mark it K. Using J as a center, draw another, smaller circle with the radius JK, concentric with the larger circle. The outer circle is to define the boundary of the hair, and the inner circle is to define the face.

4. Mark the intersection of the Y-Y1 line with the inner circle as point I. Divide the IJ

segment in the middle, and mark it F. Through the F point, draw the vertical line AB, parallel to the X-X1 line and having the same curvature. This is to be the nasal axis of the face.

5. Mark the points C and E on the intersections of the nasal axis AB and the smaller

circle. Since the AB axis is now off center, the point F is not the middle point between A and E but divides this segment into two unequal parts. To rectify this, measure the distance between C and E, and divide it evenly the middle. Mark it D.

6. We now have established the correct length of the nose, the DE segment.

Remember, the length of the nose is the basic measurement unit for the face. The distance CD defines the area of the forehead, the AC defines the height of the hair; the EB defines the boundary of the chin. All four segments should now be of equal length i.e., AC = CD = DE = EB.

7. Finally, draw three short parallel lines OC, NM (the middle of the forehead), and

BR.

This information is quite enough to build a face of any saint or an angel, because these proportions and identifiable points are essential for the face's correct structure. All the circles, curved and straight lines, axes, and distances from one point to another must be done without the aid of a compass and a ruler. Using these props will only hamper the development of your skills, and it will also dull your

ability to observe and judge distances and shapes. This is how we develop the synergy between the eye, the mind, and the hand. If working freehand proves to be a frustrating experience, try it first on graph paper, but then move to plain paper after acquiring some confidence.

The head of an Angel drawn with the circular method Even though the ocular axis is curved, the corners of the eyes are placed on it (outer as well as inner corners). The pupils touch the ocular axis and are placed above it.

Position of the nose in relation to the nasal axis in 3/4 turn

The nasal axis AB crosses the stem of the nose the middle partdiagonally. The axis first touches the point C at the base of the nose's triangle, and then intersects with the other side of the nose, approximately in the middle, at the point D. The bulb of the nose stays entirely on the left side of the axis. The nasal axis also cuts the mouth right in the middle. Look at the sketch and discern the size and the position of the mouth. The lower lip's size and position are determined by the axes E and F. The axis E is an extension of the line that comes through the left side of the ridge. The axis F is parallel to E and it is extended from the inner part of the nostril.

This is not the only scheme for a head design. Many notable icons were designed accordingly completely different key frame of axes and points. The method we have offered is one of many. However, using these guiding principles, the student of iconography will undoubtedly discover other notable basic designs. The method suggested here will help the student of iconography to develop a sound foundation for further study and exploration.

The objective and the subjective

The given diagrams, schemes, proportions, and formulas provide nothing more than a general sense of "how things should be." To an icon, these circles, lines, and axes are no more that scaffolding for a building. This all belongs in the area of the objective. That is to say, all humans have heads, and all heads have two eyes, one nose, one mouth, two ears etc. The "scaffolding" for St. John the Baptist and an Angel will be exactly the same, but will these two persons look the same in the end? Of course, not. The final result is in the area of the subjective, and every iconographer, after marking out the proportions and axes, will paint a person he or she intends to paint. In your own study, take well-known and respected prototypes, and using photocopies, do your own investigation of the axes, distances, proportions, and relationships. Then, complete a copy of that icon in pencil. This is how iconography was taught in ancient times, and this is how it should be taught today.

The darkest lines on the drawing

(see Fig. 2) This is the checklist of the darkest areas on the face. This drawing indicates what should be darkened in the face and to which degree. The darkest lines should be:

1. The two ends of the lips 2. The two holes of the nostrils 3. The pupil of the eyes 4. The upper eyelids and the round lines of the irises (thicker at the bottom)

The less lines which should be medium dark:

1. The line between the upper lid and the eyebrow 2. The lower eyelid

The eyebrows are darkest near the nose; they become less intense and more pale towards the temples.

Fig. 2

Three-quarter face schematicsThe axes of the face in three-quarters viewThe nose in 3/4 viewThe mouth in 3/4 viewDesigning the head with 3/4 turn, using intersecting axesDesigning the head with 3/4 turn, using circlesPosition of the nose in relation to the nasal axis in 3/4 turn