1. Front view portraits: a beginning guide What to keep in mind when facing a scary blank page

2. Underlying structure Make 5 statements regarding proportions of the skull and relationships of features to each other. Make 5 statements regarding proportions of the skull and relationships of features to each other. For example – say something about length, width, ½ way, etc. For example – say something about length, width, ½ way, etc.

3. Some of the bone names A.Frontal Bone B.Maxilla C.Mandible D. Zygomatic Bone E. Nasal Bone

4. Da Vinci What sketch lines do you see in this drawing by Leonardo da Vinci? What sketch lines do you see in this drawing by Leonardo da Vinci? What do you think the diagonal lines mean? What do you think the diagonal lines mean?

5. Study of the proportions of the human face What proportions is da Vinci measuring? What proportions is da Vinci measuring?

6. Standard Facial Proportions The standard proportions for the human head can help you place facial features and find their orientation. Here are a list of standard facial proportions that can give you a good idea of ideal proportions: The eyes are halfway between the top of the head and the chin. The eyes are halfway between the top of the head and the chin. The bottom of the nose is halfway between the eyes and the chin. The bottom of the nose is halfway between the eyes and the chin.

7. Standard Facial Proportions continued The mouth is halfway between the nose and the chin. The mouth is halfway between the nose and the chin. The corners of the mouth line up with the centers of the eyes. The corners of the mouth line up with the centers of the eyes. The top of the ears line up above the eyes, on the eyebrows. The top of the ears line up above the eyes, on the eyebrows. The bottom of the ears line up with the bottom of the nose The bottom of the ears line up with the bottom of the nose

8. Head Shape

9. Eye line

10. 5 eyes across Divide eye line into 5 equal parts to decide how big to make the eyes Divide eye line into 5 equal parts to decide how big to make the eyes

11. Eye size and spacing Draw five eyes to help you remember size and spacing

12. Oops - Too high

13. Nose The size of the nose depends on the person. The size of the nose depends on the person. The bottom of the nose is often as wide as the inside corner of the eyes The bottom of the nose is often as wide as the inside corner of the eyes

14. Placing the nose Usually the bottom of the nose is halfway between the eye line and the bottom of the chin. Usually the bottom of the nose is halfway between the eye line and the bottom of the chin.

15. “Nose box” Now you have the “nose box” - so draw in the nose. Now you have the “nose box” - so draw in the nose.

16. Mouth line Draw another line halfway between the nose and chin. Draw another line halfway between the nose and chin.

17. Mouth size Mouths are right above the line. Mouths are right above the line. The corners of a relaxed mouth line up with the middle of the eye. The corners of a relaxed mouth line up with the middle of the eye. Draw to vertical lines down from the pupils of the eye. Draw to vertical lines down from the pupils of the eye.

18. Now draw the mouth.

19. Ears The ears are bigger than people think. The ears are bigger than people think. They stretch from the eyes to the bottom of the nose. They stretch from the eyes to the bottom of the nose. The top of the ears is at the eye line. The top of the ears is at the eye line. They will end between the nose and mouth. They will end between the nose and mouth.

20. Eye brows

21. Neck Most people draw the neck too thin. Most people draw the neck too thin. The neck needs to big and strong to support the head. The neck needs to big and strong to support the head. Start at the ears and gently curve them out again. Start at the ears and gently curve them out again.

22. Shoulders If you have room on your paper you can draw shoulders. If you have room on your paper you can draw shoulders. We usually have room for three heads on our shoulders. We usually have room for three heads on our shoulders. Make the shoulders wide enough so that you can fit another head on each shoulder. Make the shoulders wide enough so that you can fit another head on each shoulder.

23. Hair

24. Watch for these common errors: 1. Leaving too much or too little space between the eyes. 2. Making any of the features (eyes, nose, mouth, ear) too big or too small compared to other proportions. 3. Positioning the eyes above the halfway point from the top of skull to chin 4. Miscalculating the length of the nose or distance between base of nose and upper lip.

25. Common errors continued 5. Failing to make the eyes look like they sit back behind the plane of the forehead. 6. Making the nose connect to the corner of the eyes -- it arcs up into the eyebrow ridge. 7. Leaving the outer edge of the face just the round edge of the oval guideline.

27. Proportions of the head - make 2 statements about these charts

28. The proportions of the head can be divided into four equal quarters Make 4 statements about these quarters

29. First two quarters The first quarter measures from the top of the head down to the hairline. The first quarter measures from the top of the head down to the hairline. The second quarter measures down from the hairline to the eye line The second quarter measures down from the hairline to the eye line

30. 3 rd and 4 th quarter The third quarter contains most of the features. The third quarter contains most of the features. The final quarter stretches from the base of the nose to the chin with the mouth just above the half way mark. The final quarter stretches from the base of the nose to the chin with the mouth just above the half way mark.

31. Many artist start a portrait with the eyes as they are the focal point of the face. Many artist start a portrait with the eyes as they are the focal point of the face. The eyes are approximately half way down the head. The eyes are approximately half way down the head. The distance between the eyes is similar to the breadth of the nose. The distance between the eyes is similar to the breadth of the nose.

32. Check your memory What is this sketch showing you? What is this sketch showing you?

33. Head length What is this sketch showing you? What is this sketch showing you?

34. Aligning features What do the lines mean? Yellow lines? Yellow lines? Blue? Blue? Green? Green? Red? Red? Purple? Purple?

35. Face triangle The face triangle is from the center of each pupil, through the nostrils of the nose to the point between the top front teeth. Everyone’s triangle is a little different. The face triangle is from the center of each pupil, through the nostrils of the nose to the point between the top front teeth. Everyone’s triangle is a little different. The mouth lines up under the pupils, the two iris usually equal the width of the mouth. The mouth lines up under the pupils, the two iris usually equal the width of the mouth.

36. Face triangle The face triangle is from the center of each pupil, through the nostrils of the nose to the point between the top front teeth. This is an important trait, everybody’s triangle is a little different. The face triangle is from the center of each pupil, through the nostrils of the nose to the point between the top front teeth. This is an important trait, everybody’s triangle is a little different. The mouth lines up under the pupils, the two iris usually equal the width of the mouth. The mouth lines up under the pupils, the two iris usually equal the width of the mouth.

37. The Eye Steps to making it look real.

38. The Eye Begin by drawing a circle (1) to represent the spherical form of the eye ball. Begin by drawing a circle (1) to represent the spherical form of the eye ball. Draw a pale line (2) going top to bottom across the circle to indicate the direction the eye is looking. Draw a pale line (2) going top to bottom across the circle to indicate the direction the eye is looking.

39. The Eye, continued Draw lines (3) to show where the upper and lower eyelids fall across the eyeball. Draw lines (3) to show where the upper and lower eyelids fall across the eyeball. Add small circles (4) to indicate the iris and pupil. Add small circles (4) to indicate the iris and pupil. Add lines (5) to show the thickness of the eyelids and add tear duct. Add lines (5) to show the thickness of the eyelids and add tear duct.

40. The Eye - finishing Add a crease line above the upper eyelid and below lower eyelid. Add a crease line above the upper eyelid and below lower eyelid. Add eyelashes and eyebrow. Add eyelashes and eyebrow. Look closely at length, angle and direction hair grows. Look closely at length, angle and direction hair grows.

41. The Eye, details Render the eye and add details to make it look as realistic Render the eye and add details to make it look as realistic Add highlight glare across pupil and iris Add highlight glare across pupil and iris Make lover lid look slightly darker than upper Make lover lid look slightly darker than upper Upper lid will cast a shadow across top edge of the eyeball Upper lid will cast a shadow across top edge of the eyeball

42. Parts of the eye Caruncle - a small, red portion of the corner of the eye that contains modified sebaceous and sweat glands. Sclera – the white visible portion of the eyeball. The muscles that move the eyeball are attached to the sclera

43. philtrum Philtrum – [FIL-trum] is The groove-like indentation Often found at the center of the upper lip. It is responsible for the biggest difference in shape between the upper and lower lips and becomes more pronounced when the mouth is puckered. Also known as the infranasal depression.

44. Vermilion Vermilion – [ver-MIL yon] is the border of the skin of the lips and the surrounding skin of the face. In some individuals this is more pronounced, while in others the two skin types seem to almost blend.

45. The Mouth Start with a large circle – the mouth is formed across the spherical structure of teeth and jaw. Start with a large circle – the mouth is formed across the spherical structure of teeth and jaw. Draw line to indicated vertical center. Draw line to indicated vertical center. Add a slightly curved line to indicate where the center of the lips will fall Add a slightly curved line to indicate where the center of the lips will fall

46. The Mouth Add a small oval with a dent in the top to create the shape needed for the center of the upper lip. Add a small oval with a dent in the top to create the shape needed for the center of the upper lip. Use a slightly larger oval to create the shape of the center of lower lip. Use a slightly larger oval to create the shape of the center of lower lip.

47. The Mouth Add lines to show how the sides of upper and lower lips curve out to the corners of the mouth. Add lines to show how the sides of upper and lower lips curve out to the corners of the mouth.

48. The Mouth Look for a flat, wide “M” that creates the center between the two lips and darken it slightly. Look for a flat, wide “M” that creates the center between the two lips and darken it slightly.

49. The Mouth Begin to render the mouth details to look as realistic as possible. Begin to render the mouth details to look as realistic as possible. Upper lip will be slightly darker at the sides and lighter in the center, and is usually darker than the lower lip. Upper lip will be slightly darker at the sides and lighter in the center, and is usually darker than the lower lip.

50. The Mouth Show highlights that help make lower lip look slightly rounded. Show highlights that help make lower lip look slightly rounded. Look for shadows cast by upper lip onto lower lip. Look for shadows cast by upper lip onto lower lip. (“Melt” lines – get rid of them – render in tones of gray and shadow.) (“Melt” lines – get rid of them – render in tones of gray and shadow.)

51. The Nose Draw a small circle (1) that will represent the bridge of the nose. Draw a small circle (1) that will represent the bridge of the nose. Add a narrow thin oval (2) that overlaps that circle. Add a narrow thin oval (2) that overlaps that circle.

52. The Nose Place a larger circle (3) across the bottom of the oval for the tip of the nose. Place a larger circle (3) across the bottom of the oval for the tip of the nose. Place two much smaller circles (4) on either side of the large circle to show the nostrils. Place two much smaller circles (4) on either side of the large circle to show the nostrils.

53. The Nose Begin adding light values down the sides of the oval to give it a cylindrical quality. (5)

54. The nose Now slightly darken the space that separates the nostrils from the tip of the nose as well as the lower edge of those circles to begin defining the form.(6)

55. The Nose Add nostril openings below the separation between the nostril circles and the tip of the nose. Add nostril openings below the separation between the nostril circles and the tip of the nose. These are often teardrop shapes, but look carefully at their angle. These are often teardrop shapes, but look carefully at their angle. Darken these openings - they need to look hollow and deep. Darken these openings - they need to look hollow and deep.

56. The Nose Continue rendering the nose details to make it look as realistic as possible Continue rendering the nose details to make it look as realistic as possible When the nose is seen from a ¾ or profile view, the location of the 2 side circles will be different. When the nose is seen from a ¾ or profile view, the location of the 2 side circles will be different.

57. Gray’s Anatomy - Nose Find: Find: Cartilage of septum Cartilage of septum Nasal bone Nasal bone Frontal process of maxilla Frontal process of maxilla Greater, lateral, less alar cartilage Greater, lateral, less alar cartilage Fibro-fatty tissue Fibro-fatty tissue

58. The ear

59. The Ear Draw a large oval. Add a small circle for the lobe. The lobe circle may need to overlap or just touch the large oval depending on size and shape of ear.

60. The Ear Shape the outer edge of the ear and show thickness of upper ear. (2) Shape the outer edge of the ear and show thickness of upper ear. (2) Shape the front (3) opening into the ear. Shape the front (3) opening into the ear. - Starts just above the earlobe

61. The Ear (4) Add inside curve to ear to complete the opening and the triangular fossa (the indentation just above the opening)

62. Gray’s Anatomy - Ear Find:HelixTragusAnti-tragusLobeConchaScapha Fossa triangularis

63. The Ear profile and front view # (5 – 6 – 7) # (5 – 6 – 7) Render the ear so that its form and structure are realistic. Add tonal values along the inside of the upper ear and inside front edge of opening. Give ear lobe a sense of form alongside of circle.