Very often, novice artists neglect the study of the human skeleton and muscles, mistakenly believing that “it will work out just fine”. But ignorance of human anatomy leads to the fact that the drawn person turns out to be unconvincing, and his facial expressions and movements look unnatural.

Therefore, today we will look at the basic principles that you should be guided by if you want to draw a good and high-quality portrait.

1. Proportions of the face

The skull and jaw are a slightly flattened sphere, so looking at a human face from the front, we see something like an egg turned upside down with its narrow side down. Two perpendicular lines passing through the middle divide this egg into four parts. Let's look at the details:

• Mark the midpoints of the right and left halves of the horizontal line. The eyes will be located exactly at these points.
• Divide the bottom half of the vertical line into five sections. Bottom part the nose will be located on the second mark from the top, and the line on which the lips meet will be located one point below.
• Divide the top half of the vertical line into four parts. The hairline will be located at the second or third mark, this feature varies. The ears are between the upper eyelid and the tip of the nose, but this rule is only true when the face is not down or up.

Helpful hint: the width of the face is usually five eyes wide or slightly less. The size of the distance between the eyes is equal to the width of one eye. Very rarely in humans, this distance is very different from the standard, but this feature will be easy enough to notice. The distance between the lower lip and chin is also equal to the length of one eye.

Another way to measure is to use the distance between the tip of your thumb and forefinger. The figure below shows what distances can be measured in this way: ear height, hairline to brow, brow to nose, nose to chin, and pupil to pupil.

Profile

In profile, we still see the shape of an egg, but the sharp side of it looks into a corner. Lines now separate the head into a face and skull.

On the skull:

• The ear is just behind the vertical line. In size and location, it is still located between the upper eyelid and the tip of the nose.
• The depth of the skull varies within the limits indicated in the picture below in paragraph 4 with dotted lines.

• Everything is located as mentioned above.
• The root of the nose coincides with the horizontal line or is slightly higher
• The most prominent part is the first point above the horizontal line that marks the brow line.

2. Features

Eyes and eyebrows

The eye is simply two arcs connected in an almond shape. There is no definite rule in drawing eyes, because the shape of the eyes can be different, and there are a lot of such forms, but we can notice the following trends:

• The outer corner of the eye may be higher than the inner, but not vice versa.
• If the shape of the eye is almond, then the rounded part of the eye will be closer to the inner corner, and the elongated part will be closer to the outer.

Eye details

• The iris is partially hidden under the outer eyelid. It touches the lower eyelid only if the person looks down, or if the eye is built so that the lower eyelid is higher than usual.
• Eyelashes grow from the inside out, not the other way around, and this is very important when drawing to make them look natural. Eyelashes on the lower eyelid are shorter.
• When trying to draw all the little things (tear ducts, lower eyelid, etc.), remember that drawing in detail does not always mean that the result will be beautiful.

In profile, the eye takes the form of an arrowhead (with convex or concave sides), with a slight hint of the upper and possibly lower eyelids. In real life, you will not see the iris from the side, you will only see the white of the eye. But an eye without an iris looks weird, so draw at least a hint of it.

As for the eyebrows, the easiest way to draw them is to follow the arch of the upper eyelid. Often the widest part of the eyebrow is closer to the inside, and the “tail”, tending to the outer part of the eye, gradually becomes thinner.

If you look in profile, the shape of the eyebrows changes dramatically and becomes more like a comma. The eyebrow, as it were, begins where the tips of the eyelashes are.

The nose of a person is approximately wedge-shaped, it is enough just to imagine and draw it in three-dimensional form before drawing the details.

The back and wings of the nose are flat surfaces that are only outlined at the end, but it is still very important to take these surfaces into account when sketching in order to correctly calculate the proportions. The lower flat part of our wedge in the form of a truncated triangle is connected to the wings and the tip of the nose. The wings fold inward towards the septum to form the nostrils - note that the bottom view shows how the septum begins before the wings and connects to the face. It protrudes lower than the wings when we look at the nose in profile, which means that in 3/4 view the distal nostril is hidden by a septum.

Just like in the case of the eyes, detailing does not always give a good result. Therefore, it is more important to work out the proportions than to pore over the details, which in the end can disfigure the drawing. When drawing from the front, the nose looks better if you draw only the lower part of it. If you are drawing a 3/4 view, then most likely it will be better for you to draw the line of the back of the nose. You will have to examine and study a lot of noses in order to understand how and when to draw it.

Lips

• The line where the lips meet should be drawn first, as it is the longest and darkest of the three lines that form the mouth. This is not just a wavy line, but a whole series of thin curves. In the picture below, you can see an exaggerated example that will explain the movement of the mouth line to you. Please note that there is different forms lips, and that the main line may reflect the lower or upper lip. Lips can be softened different ways. The line in the middle can be very straight to reflect a sharp look, or very blurry to loosen the lips. It all depends on the shape of the lips, how plump they are. If you want to achieve symmetry, start from the center and draw one half of the lip and then the other.
• The two upper tips of the upper lip are the most obvious parts of the mouth, but they can also be pronounced or practically run in one line.
• The lower lip is a soft arch, but can also vary from almost straight to very rounded.
• The upper lip is usually thinner than the lower one and protrudes from the general relief of the face less than the lower one. Try to shade the upper lip with strokes.
• On the sides of the lips are shaped like an arrowhead and what upper lip slightly protrudes forward in this place, it can be seen very well.
• The midline of the mouth at the ends deviates downward from the lips. Even if the person smiles, it curves down before going up again. Never draw this line straight up if you are drawing a face in profile.

The most important part of the ear is the long, C-shaped outer line. The inside of the ear is like an inverted U. There is also a similar curve just above the earlobe, connected to a small C-shaped arc. In general, the shape of the ear also varies.

When we see the face in front, the ears are visible in profile:

• The rim, which was previously U-shaped, is now a separate part - as happens when we look at the plate from the side and see its bottom.
• The earlobe will look more like a drop and will stand out.
• How thin you need to draw the line of the ear depends on how close the ears are to the head.

If you look at the head from behind, the ear looks as if separated from the head: the rim is attached to the head with a funnel. Don't be afraid to draw the funnel too big, as it really isn't small.

3. Angle

Having the shape of a ball with a few changes, the head is drawn easier than expected. But, despite this, you need to study how it looks from different angles. Of course, the appearance of the nose changes first of all, but the eyebrows, cheekbones, the central part of the mouth and chin also change.

When we drew a face in full face and in profile, we practically simplified it to a two-dimensional plane. For other viewing angles, we need to think in 3D space.

look down

• All details are rounded up and the ears are also moved up.
• Since the nose protrudes forward, it protrudes from the general line of the face and its tip is closer to the mouth.
• The eyebrow curve becomes more even. In order for it to take a reverse bend, you need to turn your face in some particularly unusual way.
• The upper eyelid becomes more visible and covers most of the eyeball.
• The upper lip almost disappears, and the lower lip protrudes more.
• Note that since the mouth follows a general curve, it looks like a smile has appeared on the person's face.

look up

• All details are rounded down and the ears are also moved down.
• The upper lip becomes fully visible and the mouth appears plumper.
• The eyebrow line becomes more rounded, but the lower eyelid is rounded down, giving the effect of a sharp look.
• The lower part of the nose is clearly visible, the nostrils are also clearly visible.

Side turn

When a person is seen almost from the back, all that is visible is the protruding line of the eyebrows and cheekbones. The line of the neck protrudes and tends to the ear. Eyelashes are the next thing you see when a person turns his face.

Then part of the eyebrow appears, and the protrusion of the lower eyelid and the tip of the nose protruding from behind the cheek also become visible.

When the face is already turned almost in profile, the eyeball and lips become visible (but the midline of the mouth is still small), and the line of the neck merges with the line of the chin into one line. You can still see the part of the cheek where the nostril is hiding behind.

The proportions of the human body are varied and depend on age, gender, type of addition. So, there are three forms of physique: long and narrow, characterized by a narrow pelvis and long limbs; short and wide, with a wide and long body and short legs; average between the first and second. The proportions of the female figure are different from the proportions of the male. A child, a young man, a teenager differ significantly in proportions from an adult.
The study of all the structural features of the body when creating a sculpture is of paramount importance for the artist. Considering a specific model, one should understand the ratio of individual parts of the body, their proportions. In different people, they vary significantly, which makes up the individuality of each person. Capturing it is the task of the sculptor. Success in this depends on knowledge of the laws of anatomy; the ability to see and transfer what he saw into the material. For a novice woodcarver, as already mentioned, it is difficult to achieve high results without drawing and modeling, training and sketching in plasticine and clay. I advise you to examine your body and face more often. This will help in the study of anatomy, teach you to find bone and muscle protrusions, tell you the laws of changing body shapes in various poses. Pay attention to your relatives, friends, peer at passers-by on the street, in passenger transport.
The study of figures and faces should become a habit. Let the street, different public places will become for you a permanent exhibition, an exposition of a huge museum. It’s good if you always have a small notebook or sheets of blank paper with a cardboard cover and a pencil with you. Interesting, characteristic faces, sketch their features without wasting time, otherwise they will be forgotten, and you will not meet them again. But I want to warn you that you need to peer and consider imperceptibly so as not to embarrass those you are looking at - not everyone likes when they are pierced point-blank with a look. Try not to frighten the person so that he does not change his natural state. If you saw something interesting on the street, but could not draw it, do it at home, from memory, the benefit will be double: you will save an interesting image and train your visual memory. The volume of this book does not allow me to dwell on these issues in detail. We will review the basic data of typical body proportions using the already developed schemes. I think they will be useful to start dating, I say this based on my own experience.
The basis of the structure of the human body is its skeleton. The external data of the individual largely depend on it. This is his architecture, which bears on itself internal organs, muscular system, complementing the overall shape. In the skeleton, the skull, bones of the trunk (spine with chest) and limbs are distinguished. The only movable bone in the skull is the lower jaw. Along the back stretches the spine, consisting of separate bones - vertebrae. Between them are cartilage pads, giving significant mobility to the body. The ribs are attached at one end to the spine, the other - to the sternum, forming the chest. In the upper part of it, on the clavicles and shoulder blades, the upper limbs are attached - the arms. The pelvic bones are attached to the lower part of the spine. Depart from them lower limbs- legs. The arms and legs are made up of three large bones and several smaller bones in the hands and feet. Connecting joints provide sufficient mobility of the limbs.
The structural features of the human skeleton play a fundamental role in the proportions of the body. When creating a statue, the carver must have a good idea of ​​the anatomical structure of the body. I recommend referring to the specialized literature, published in sufficient quantities. Noteworthy is “Plastic anatomy and the image of a person based on it” by M.Ts. Rabinovich (Publishing House Fine Arts, 1985).

To make it easier to determine the ratio of body parts, artists choose a unit of length, the so-called module.

Rice. 7.1. Proportions human body, module - head (according to Riecher)

Since ancient times, any part of the body (head or nose, hand or middle finger, foot, etc.) served for this purpose, with the help of which the relationship between the parts and the whole was established. To determine the overall height of a person, the head is more often used. On average, its value is constant - about 22 cm. For artists to this day, this is the main module, equal to an eighth of the height of an adult. For undersized, this ratio reaches 7–7.5. Hence, the higher the growth, the smaller its share falls on the size of the head.
If we take the size of the head as the main module, then its length fits into the distance from the chin to the inter-nipple line, from the inter-nipple line to the navel, from the navel to the pubis (Fig. 7.1). The size of one head is also equal to the length of the hand with the wrist and the height of the buttocks, the distance between the nipples of the chest. Two head sizes equals the width of the shoulders, the distance from the end of the middle finger to the olecranon, from the lower edge of the patella to the sole. Three head sizes correspond to the distance from the armpit of the outstretched arm to the end of the middle finger. The foot from the inguinal fold to the sole is equal to four head sizes. Consider carefully and remember the rest of the proportional relationships.

The structure of the head and face

By studying the shape of the head, we distinguish bony protrusions. The most pronounced, there are twenty. Of these, thirteen on the skull and seven on the front. The main ones are: two superciliary (left and right), two frontal, two temporal, nasal, coronal, chin, two zygomatic, two mandibular and occipital.
There are four main types of faces (Fig. 7.2, a):
1) rectangular: temporo-parietal, zygomatic and mandibular highest points are located approximately on the same vertical line;
2) diamond-shaped: the vertical line touches only the zygomatic protrusions;
3) trapezoid, smaller side down: the vertical line touches only the temporo-parietal protrusions;
4) trapezoidal, with the larger side down: the vertical line touches only the outer mandibular protrusions.
In each case, there may be options close to the main types, it is quite difficult to determine them because of the hairstyle. In profile, the head shapes differ in the facial angle. If you draw two lines, one between the central protrusions of the superciliary arches and the junction of the nose with the upper lip, and the second - from this point to the earlobe, an angle is formed, which is called the front. There are three of them (Fig. 7.2, b):
1) straight, while the first line is vertical;
2) sharp, while the first line is inclined by the upper end towards the forehead;
3) obtuse, while the first line is inclined with its lower end towards the chin.

Rice. 7.2. head shape ( a) and facial angle ( b)

When creating a portrait, you should consider age features, as well as belonging to the portrayed male or female.
For example, the head of an 8-10-year-old child is distinguished by a large cranium and an underdeveloped facial part.

Rice. 7.3. The main forms of the head and the anatomical points of their construction

Little visible cheekbones and brow ridges. The lower part of the face - cheeks and chin - is rounded. Forms are generalized without sharp boundaries. In a teenager at the age of 14–16, the ratio between the cranium and the face changes. Bone protrusions are indicated, the skull grows noticeably. Subcutaneous fat is thinned. Groups of masticatory and temporal muscles appear.
In a young man at the age of 18–20, the growth of cranial bones usually stops. The change external form the face occurs due to the formation of facial muscles, and this significantly distinguishes the young man from the previous age stage. A nasolabial fold is formed. Increases hair density. At young man the shape of the head becomes clearer. Bone protrusions and muscle groups are clearly visible. The head of an adult (30–35 years old) is characterized by a thickening of the subcutaneous fat layer. This leads to enlargement of all face shapes.
On the head of an elderly person, soft covers are noticeably enlarged, which is why there are wrinkles and deep folds on the face. Bone protrusions and muscle groups stand out, the upper eyelid falls, the hair thins. On the face of an old man, muscle tissues are atrophied: the skin sags and many folds and wrinkles form. Bone protrusions are clearly marked, muscle attachment points are visible, veins and arteries are visible. The nose becomes sharper, the outlines of the skull are clearly visible. At a very advanced age, the skin of the face dries out, covered with continuous wrinkles. Grinded or loose teeth bring the chin closer to the nose. The eyelids of the eyes and the lower lip droop, and complete weakness is reflected in the face. The nature of age-related changes, depending on the specific structure of the face, can be expressed more or less clearly. The sculptor should pay special attention to this.

The structure of the parts of the face

When constructing a portrait, sculptors divide the head from the front side vertically into four parts, each of which is on average equal to the length of the nose: from the chin to the nose, the nose, from the bridge of the nose to the line of the beginning of the hair, and from the beginning of the hair to the top of the head, that is, the highest point of the head. The length of the palpebral fissure formed by the eyelids, the distance between the eyes, the width of the nose along the nostrils, as a rule, are equal to each other. They correspond to half the length of the nose. The length of the mouth is one third longer than the length of the palpebral fissure.
Consider the main parts of the face and their features.

Nose
The shapes and sizes of the nose in different people are varied and depend on the bone base of the skull, the cartilaginous continuation and the muscular subcutaneous layers of this area. The reduction of the latter reflects one or another psychological state of a person, which should be paid attention to when conveying the mood of the person being portrayed. Look at the different nose configurations (Figure 7.4). Noses are divided into four main types: straight, hooked (aquiline), soft snub-nosed and upturned, which changes shape with age. The child has a small nose. In old age, the bone and cartilage parts protrude more noticeably.

Rice. 7.4. Nose shapes

Mouth
It consists (Fig. 7.5) of two skin folds that form the lips, at the base of which is the round muscle of the mouth. The upper lip is noticeably different from the lower shape. It is different for different people. There are four types of lips: thin, thick, medium and swollen. In the middle of the upper lip there is a tubercle called the proboscis. On both sides, small bulges also adjoin it. To the corners of the mouth, the upper lip becomes flatter and turns inward. In the center of the lower lip there is a small notch, on the sides of it there are bulges that end almost at the corners of the mouth. The lips are bordered by a low rim, which is also the border of their coloration. Depending on the mood of a person, the lips change shape. We see the inner state of a person, his feelings. The artist must capture these subtle changes and, if necessary, reflect in the portrait. Such a portrait will tell the attentive viewer more and convey the truth of the character of the person being portrayed.

Rice. 7.5. The structure of the mouth. 1 - nasolabial furrow; 2 - "filter"; 3 - tubercle of the upper lip; 4 - corner of the mouth; 5 - labial sulcus

Eyes
At the first examination, we see the main external details of the eye. These include the eyeball, iris, pupil, eyelids, eyelashes, "tear lake", eyebrow (Fig. 7.6).
Above and below the eye is framed by the upper and lower eyelids. Between them, a space is formed, called the palpebral fissure. When the eye is open, it is almond-shaped, when closed it has the shape of an arch convex downwards. The upper eyelid is larger and more mobile than the lower. The lateral edge of the eyelid is sharp, the inner rounded, it forms a "tear lake". The artist must remember that the eyeball can move independently of the eyelids, which, in turn, close and open also independently of the pupils.
Working on a portrait, it is necessary to carefully study the device of the eye, its changes when looking to the side, down, up.

Rice. 7.6. External structure of the eye: 1 - outer corner; 2 - Iris; 3 - pupil; 4 - protein shell; 5 - inner corner; 6 - eyebrow, 7 - fold covering the upper eyelid; 8 - upper eyelid; 9 - lower eyelid

The methods of depicting the eye in sculpture can be different. Sometimes the pupil is not marked on the eyeball (as in antique busts). The iris is formed convex or concave with a small or significant depression. The shadow point depends on the depth. To make the eye more lively, a light glare is created, leaving a piece of material on either side of the pupil recess. It should stand out in contrast against the background of a darker iris and pupil, creating at a distance the effect of a sparkle in the eyes, a reflection of the incident light.
They say the eyes are the window to the soul. Looking into the face, we first of all look into the eyes, which tell us a lot. The viewer in portraits is also first drawn to the eyes. In them, he is looking for answers to questions, trying to understand what kind of soul is reflected, what the artist wanted to say with the work, how he relates to the one whom he recreated in sculpture.

Ears
These are cartilaginous plates of complex shape, covered with a skin fold, which are located behind the cheeks on the sides of the front of the head. In terms of its structure, the ear, like a hearing aid, is complex, but we are more interested in external structure and diversity. We see and reflect plastically the external superstructure - the auricle (Fig. 7.7). On it, a curl and an antihelix, a tragus and an antitragus, an auricle cavity are distinguished. In the upper part of the curl there is a slight thickening - a tubercle. Inside the tragus, the shell passes into the opening of the internal auditory meatus. The lower part of the auricle is not filled with cartilage. Here is the urine. It may be separated or adhering to the cheek. Ears are very variable in shape. Each person has their own characteristics. With all the differences, they are divided into large and small, long and short, narrow and wide, flattened and protruding. The ears are usually fixed, but often draw attention to themselves, if not hidden by hair. They give a unique shape to the construction of the head and characterization of the face. Consider this and do not forget to convey in the portrait.

Rice. 7.7. External structure of the ear: 1 - ear cavity; 2 - antihelix; 3 - curl; 4 - tubercle; 5 - tragus; 6 - antitragus; 7 - lobe

Eyebrows, mustache and beard

For each person they are individual, but the basic laws of construction are similar, which must be taken into account when creating a portrait.
Eyebrow- an oblong section of hair located above the orbit over the superciliary tubercles of the skull. Eyebrows are varied in shape: short, long, narrow, wide, sparse, thick, straight, arched. Consist of three parts: head, body and tail, which reproduce the total mass.
Men tend to be thicker, while women tend to be thinner. They give expression to the face, especially to the eyes. Very mobile both together and separately.
Mustache also on each side they consist of three masses: under the nostrils, between the nostrils and the corners of the mouth, above the corners of the mouth and beyond. They should be depicted without a noticeable separation of the masses.
Beard. Consists of nine masses: one each from the ears, one each from the cheeks and the beginning of the chin, two masses at the level of the chin, one smaller mass above them (under the center of the lower lip) and the last two masses under the lower jaw.
Such an analysis of the structure of the face is far from complete, but it gives the novice artist an initial guideline when creating portrait works.

The portrait conveys not only the external characteristics of the face, but also reflects the inner world of a person, his attitude to reality and emotional state at a certain point in time. In fact, a portrait, like any other genre painting, is an arrangement of lines, shapes and colors on canvas or paper so that their final combination repeats the shape. human face.

Sounds almost like magic? In order to correctly place those very lines, shapes and shades on paper, you must first of all study the proportions of a person’s face (when drawing a portrait, they must be observed without fail) and their dependence on the movements, direction and shape of the head.

What is a portrait?

Regardless of the level of skill, working on it intimidates any artist. The remarkable painter John Singer Sargent gave the portrait two characteristics that every artist would agree on:

1. “Every time I paint a portrait, especially on commission, I lose a friend.”
2. "A portrait is a painting in which the lips end up looking somehow wrong."

Portrait - one of the most difficult genres of drawing and painting. The reason is that the artist often works to order, and pressure from outside interferes with the creative process. The portrait in the view of the customer often differs from what the artist creates. In addition, working on the image of a human face requires special knowledge and a fair amount of patience.

Why study proportions

Proportions are needed in order to understand how objects are located relative to each other in a dimensional, planar and intermediate ratio. If even a small amount of realism is important for a portrait, this cannot be achieved without knowing the proportions. On the other hand, nobody canceled abstract portraits.

Knowledge of proportions helps to convey not only facial features, but also emotions and facial expressions of a person. Knowing the dependence of the change in appearance on the position of the head, the emotional state of the model and lighting, the artist can transfer the character and mood of a person to the canvas, thereby creating an object of art. But for this you need to know the correct proportions of the face and be able to build a composition in accordance with the rules.

Ideal Proportions

During the High Renaissance, Raphael created paintings that were considered the standard of perfection. In fact, all of today's ideal proportions originate in the oval faces of Raphael's Madonnas.

If you draw a vertical line in the very center of the face and divide it into three parts - from the hairline to the eyebrows, from the eyebrows to the tip of the nose and from the tip of the nose to the chin, then these parts will be equal in an ideal face. The figure below shows the ideal proportions of a human face, a scheme for drawing and building an ideal face oval, as well as the ratio of the main features. It is worth considering that the ideal male face is characterized by more angular features, but, despite this, their main location corresponds to the presented scheme.

Based on this scheme, the ideal proportions of the face when drawing a portrait correspond to the following formula:

1. BC=CE=EF.
2. AD=DF.
3. OR=KL=PK.

face shape

Correctly constructed proportions of a person's face when drawing a portrait depend largely on the shape of this face. Raphael created a perfect oval, and nature does not limit perfection to just one geometric shape.

Probably, it is most convenient to study the construction of proportions and their change during movement on a perfectly oval face, for this there are many ways and techniques that will be discussed below, but the essence of the portrait is not in creating an ideal, but in depicting a person with all his features and imperfections. That is why it is important to know what the shape of the face can be and how it affects the construction of proportions when drawing portraits.

Rounded faces

elongated face has rounded hairline and chin. The vertical midline of the face is much longer than the horizontal. Elongated faces are usually characterized by a high forehead and a large distance between the upper lip and the base of the nose. Usually the width of the forehead is approximately equal to the width of the cheekbones.

Oval face similar in shape to an egg turned upside down. The cheekbones are the widest part of it, followed by a slightly less wide forehead and a relatively narrow jaw. The length of an oval face is slightly greater than its width.

Round face characterized by almost equal midlines of the vertical and horizontal sections of the face. Wide cheekbones are smoothed out by a smooth rounded chin line.

Angular face shapes

Rectangular face characterized by a wide jaw, accentuated by an angular chin and a straight hairline. The median line of the vertical section is much longer than the horizontal one. The width of the forehead of a person with a rectangular face is approximately equal to the width of the cheekbones.

triangular differs from the heart-shaped only by the hairline, in the triangular it is straight. A characteristic feature of this face shape is high cheekbones and a very narrow, pointed chin, while the cheekbones are almost as wide as the forehead. The vertical section line of a triangular face is usually slightly longer than the horizontal line.

Square shape characteristic of persons with low, wide cheekbones and an angular chin. The length of a square face is equal to its width.

Trapezoidal defined by a wide jaw, low cheekbones and a narrow forehead. Usually on such a face, the chin is angular and wide, and the cheekbones are much wider than the forehead.

diamond shape the face is given a proportionally narrow forehead and chin, the latter usually pointed. High cheekbones - the widest part diamond face, and its horizontal section is much smaller than the vertical one.

Correct facial structure

The correct construction when drawing a portrait is based on measuring the facial features of the model and the distance between them. Each portrait is individual, just as no two faces are exactly the same, with the exception of twins. The formulas for calculating proportions give only basic tips, following which you can make the drawing process much easier.

To create your own characters or draw faces from memory, it is extremely important to know the correct rendering of proportions. It is important to remember here that the shape of the head is much more complicated than an inverted egg or an oval, and therefore it is worth following the rules to avoid eyes on the forehead or a mouth that is too small.

face outline

First, draw a circle - this will be the widest part of the skull. As you know, the main features of the face take place under the circle. To approximately determine their place, we divide the circle in half vertically and continue the line down so that the lower outline of the circle divides it exactly in half. The bottom of the line will be the chin. From the sides of the circle to the "chin" you need to draw lines that will become the preliminary outlines of the cheekbones and cheeks.

If the portrait is drawn from the model's face or from memory, then you can correct the shape with a few light lines, determine the approximate width of the chin and the hairline. It is worth noting that the hair in the portrait will occupy some part of the circle that was drawn at the very beginning.

Eyes and eyebrows

Draw a horizontal line at the base of the circle, perpendicular to the first. The eyes are on this line. It is on it, not higher, no matter how much you want! The horizontal line must be divided into five equal parts - each of them is equal to the width of the eye. The central part may be slightly wider. The eyes are located on the sides of her. For further calculation of proportions, it is best to indicate where the pupils will be located.

To determine how high above the eyes the eyebrows should be, divide the circle into four equal parts, from bottom to top. Eyebrows will be located along a horizontal line passing directly above the eyes.

Nose and lips

The vertical line of the lower part of the face must be divided in half. Mark the middle where the base of the nose should be. The width of the nose is easy to determine by drawing parallel lines down from inner corners eye.

The rest - from the nose to the chin - must be divided in half again. The middle line coincides with the line of the mouth, that is, the upper lip is located directly above it, and the lower lip is located below it. The width of the mouth can be calculated by drawing parallel lines down from the middle of the pupils. The width of the chin is usually equal to the width of the nose.

Building the proportions of the human face, described above, is a simplified method and is suitable for perfect faces, which are rare in nature.

Artist John Watkiss completely breaks down compositional and anatomical techniques to create an accurate illustration of the classic Tarzan character.

Two keywords in art: technique and principles. The principles include composition, structure, and expression, and their meanings are presented in the art.

Technique is the use of any physical tools, such as: oil, watercolor, pencil, pen, Photoshop, but they will be ineffective if you do not understand the principles.

This article will talk about both sides of harmony. Many people give themselves too much to technology and very often forget about the principles.

1. Composition

Even though this article is about Tarzan's anatomy, let's start with composition. This is a very important stage in the creation of the human figure.

Let's start with straight lines to create a strong silhouette of Tarzan in action. This will be the base in which we will place the body of our hero.

2. Generalized skeleton

The next thing to keep in mind is the implementation of the skeleton. The example summarizes groups of bones. Each black line represents a separate bone.

Rectangular elements symbolize a group of two bones. Hands, feet, legs and shoulders will be asymmetrical, and the skull, chest and pelvis will be symmetrical.

3. Details of the skeleton

If the previous construction was too general, then this one will be more detailed. It is very important to compare asymmetrical bones with symmetrical ones.

The most important bones are labeled on the diagram. A little later you will understand why understanding symmetry and asymmetry plays important role in creating anatomy.

And again, we start with a generalization of the muscles, so that later we can understand the details. Note that the asymmetry of the muscles follows the symmetry of the bones.

Also note the symmetrical large muscles that lie on the symmetrical bones and see how they affect the contour of the figure.

One of the principles of composition is to go from the general to the detailed. Muscles have their own compositional dynamics. The picture shows the most important muscle groups.

Latin names may seem a little exotic to you, but it's worth focusing on the shape of the muscles, and not on their names.

Now, based on everything that we discussed above, we create a silhouette. Please take the time to learn about symmetrical and asymmetrical shapes.

Note that due to the asymmetrical arrangement of the muscles, the shapes and curves also differ from each other in the upper body: the arms and wrists.

The same goes for the legs. We notice this because very often people draw arms and legs symmetrical to each other with the same curves on both sides.

This geometric construction will help you understand the location of light and shadow, it gives an example of a three-dimensional action that a character performs.

Now we can understand the features of contouring. Compare this diagram with the diagram in step 2, it will give you an idea of ​​how you can rethink the chest and pelvis according to the scene.

This image makes it feel like Tarzan is alive. If you remember this, then the drawing will turn out better and more emotional. The diagram builds on the previous one, so it gives us a complete understanding of Tarzan's silhouette.

Such a “mummy” is an excellent replacement for a living model of a person. Therefore, try to apply this method when you draw the human body.

This image clearly shows the light and shadow in the future drawing. Such a contrast diagram helps to see the nuances better. For Tarzan, we will use three tones: light, lighter shadow, darker shadow. And also the tone for the accent.

We hope this drawing speaks for itself. Using the listed nine principles, one can understand how to correctly depict the human figure. Also, do not forget about the background elements, but try not to interrupt the main silhouette.

The ideal figure - what is it? This question is difficult to answer, since the definition of this concept is constantly changing depending on preferences and eras. However, the most important indicator of success, attractiveness and charm at all times has been and remains proportionality.

Ideal parameters in different centuries

Any generation, people, person can have their own opinion about what are the ideal proportions of the body of a man and a woman. In Paleolithic times, as you know, it was considered beautiful female figure with more than hypertrophied forms - this is evidenced by archaeological finds.

Ideal Proportions female body in the period of antiquity, small breasts, slender legs, wide hips. For the Middle Ages, the canons of beauty were unexpressed waist and hips, but at the same time a rounded belly. At the height of fashion during the Renaissance were curvaceous. And so it continued until the era of classicism.

Only the twentieth century has made changes in the idea of ​​what should be the ideal proportions of the human body. Now it is fashionable for a girl to have a flat stomach and slender legs, and a man to have a muscular figure.

Canons of Polykleitos

The system of ideal proportions was developed by the ancient Greek sculptor Polykleitos back in the fifth century BC. The sculptor set a goal to accurately determine the proportions of a man's body in accordance with his ideas about the ideal.

The results of his calculations are as follows: the head should be 1/7 of the total height, the hand and face - 1/10 part, the foot - 1/6 part.

However, such figures seemed too massive, "square" to contemporaries of Poliklet. These canons, however, became the norm for antiquity, as well as for artists of the Renaissance and classicism (with some changes). In practice, the developed ideal proportions of the human body Policlet embodied in the statue "Spearman". The sculpture of a young man personifies confidence, the balance of body parts demonstrates the power of physical strength.

"Vitruvian Man" da Vinci

The great Italian artist and sculptor in 1490 created the famous drawing called "Vitruvian Man". It depicts the figure of a man in two positions, which are superimposed on one another:

1. With outstretched legs and arms. This position is inscribed in a circle.
2. With legs brought together and arms outstretched. This position is inscribed in a square.

According to da Vinci's logic, only the ideal proportions of the human body make it possible to inscribe figures in the indicated positions in a circle and a square.

Vitruvius' theory of proportion

The ideal proportions of the body embodied in da Vinci's drawing were taken as the basis for his theory of proportioning by another Roman scientist and architect Mark Vitruvius Pollio. Later, the theory became widespread in architecture and fine arts. According to her, for a perfectly proportional body, the following ratios are characteristic:

• arm span is equal to the height of a person;
• the distance from the chin to the hairline is 1/10 of a person's height;
• from the crown to the nipples and from the fingertips to the elbow - 1/4 of the height;
• from the crown to the chin and from the armpit to the elbow - 1/8 of the height;
• maximum shoulder width - 1/4 height;
• arm length - 2/5 of the height of a person;
• the length of the ears, the distance from the nose to the chin, from the eyebrows to the line - 1/3 of the length of the face.

The concept of the golden ratio

Vitruvius's theory of proportioning arose much later than the theory of the golden section. It is believed that objects that contain the golden ratio are the most harmonious. The Egyptian Pyramid of Cheops, the Parthenon in Athens, Notre Dame Cathedral, Leonardo da Vinci's paintings The Last Supper, Mona Lisa, Botticelli's work Venus, Raphael's painting The School of Athens were created according to this principle.

The concept of the golden ratio was first given by the ancient Greek philosopher Pythagoras. He may have borrowed this knowledge from the Babylonians and Egyptians. Then this concept is used in Euclidean "Beginnings".

The term "golden section" was coined by Leonardo da Vinci. After him, many artists consciously applied this principle in their paintings.

golden symmetry rule

From a mathematical point of view, the golden ratio consists in the proportional division of the segment into unequal parts, while the entire segment relates to the larger part as the larger part itself to the smaller one, that is, the smaller segment relates to the larger one as the larger one relates to everything.

If the whole is designated as C, the larger part is A, and the smaller part is B, the golden section rule will look like the ratio C: A \u003d A: B. The main geometric figures are based precisely on this ideal proportion.

The rule in question subsequently turned into an academic canon. It is used in the gene structures of organisms, the structure of chemical compounds, space and planetary systems. Such patterns exist in the structure of the human body as a whole and individual organs in particular, as well as in biorhythms and the functioning of visual perception and the brain.

"Aesthetic Research" by Zeising

In 1855, the German professor Zeising published his work, in which, based on the results of measuring about two thousand bodies, he concluded that the division of the figure by the navel point is the most important indicator of the golden section. The ideal proportions of a man's body fluctuate within the average ratio of 13: 8 = 1.625 and come closer to the golden ratio than the proportions of a woman's figure, where the average value is expressed in a ratio of 8: 5 = 1.6.

Such indicators are calculated for other parts of the body: shoulder and forearm, fingers and hand, and so on.

90-60-90 - the ideal of beauty?

In society, the ideal proportions of the human body are reviewed approximately every fifteen years. During this period of time, due to acceleration, ideas about beauty undergo significant changes.

Therefore, the ideal proportions of the female body are not the notorious 90-60-90 at all. These indicators are not suitable for everyone. After all, each girl has her own body type, which is inherited.

Ideal proportions of the female body

In our country, many now take as an ideal the standards of physique compiled by Dr. A. K. Anokhin at the end of the nineteenth century. According to them, the proportions of the female body are ideal if for 1 cm of a woman's height there are:

• 0.18-0.2 cm neck circumference;
• 0.18-0.2 cm shoulder girth;
• 0.21-0.23 cm calf girth;
• 0.32-0.36 cm hip circumference;
• 0.5-0.55 cm bust (not bust);
• 0.35-0.40 cm waist circumference;
• 0.54-0.62 cm pelvic girth.

Multiply your height (in centimeters) by the numbers above. Then take the appropriate measurements of the body parts. Based on the results, it will become clear how you comply with the standards.

Male body proportions

Many varieties have a modern idea of ​​\u200b\u200bthe ideal male figure. In fact, the ideal proportions of the body at the same time for all men cannot be named. There are subjective opinions, but there is reality, which is created by statistics and science. And objective data show that the ideal physique of a man has remained unchanged for thousands of years. From a female point of view, the most attractive is the V-shaped torso, which has provided its owner with success in society in all ages.

Currently, ideal body proportions can be calculated in different ways: using the McCallum formula, the Brock method or the Wilks coefficient. McCallum, for example, talks about the need to have the same length of the torso and legs. And the size of the chest, in his opinion, should exceed the size of the pelvis (approximately 10 to 9). The chest and waist should be in proportions of 4 to 3, and the arms, spread apart, should be the height of a man. The same parameters were once laid down in the phenomenon of "Vitruvian Man".

For a man, 180-185 centimeters are considered ideal height. Weight as a standard is hardly worth giving, it is more important to link it with body proportions and height. After all, even with optimal weight, a loose figure will not bring success to its owner.