adult facial proportions

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Adult FacialProportionsBrenda Hoddinott

P13 INTERMEDIATE: PEOPLE

This article demonstrates a simple formula for rendering adult heads and faces proportionately

correct. As we all know, adult faces are vastly different; yet, everyones facial proportions fall

somewhere within a standard set of guidelines.

This lesson is divided into the following three sections:

ADULT FACES DIFFERENCES AND SIMILARITIES: With all adult faces

following the same proportional guidelines, youd think that everybody would look

similar. Not so at all! In addition to gender and cultural origin, genetics plays a key rolein determining the appearance of an individual face. This section explains the three

primary factors that contribute to anatomical differences: facial slopes, cranial masses,

and facial masses.

EXAMINING FACIAL PROPORTIONS: The shapes of adult heads and theplacements of most features will follow the guidelines discussed in this section, but never

forget that the proportions of a small percentage of adult faces wander slightly outside the

guideline parameters.

LINING UP ADULT FACIAL PROPORTIONS: You use a ruler to set upproportional guidelines for an adult head. Knowing how to set up accurate guidelines

helps you remember where everything goes on an adult face.

Suggested drawing supplies include good quality white paper, various graphite pencils, kneaded

and vinyl erasers, and a pencil sharpener.

7 PAGES 11 I LLUSTRATI ONSRecommended for intermediate level artists with well developed basic skills, as well as students of

home schooling, academic and recreational fine art educators

Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada, 2002 (Revised 2008)


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Copyright to all articles, images, text, projects, lessons and exercises within this document belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoeverwithout the written permission of Brenda Hoddinott. E-mail [email protected] Web site http://www.drawspace.com

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Art Speak

Proportionis therelationship in size of onecomponent of a drawingto another or others.

Facial sloperefers tothe angle of the lowersection of a person'shead (excluding thenose) when viewed fromthe side, from theforward projection at thebase of the upper teeth,upward to the forehead.

Cranial massis theupper section of the

head, often referred to asthe cranium or skull.

Facial massrefers to thelower section of a humanhead, also called theface or facial area.

ADULT FACES DI FFERENCES AND

SI MI LARI TI ES

As we all know, adult faces are vastly different; yet, everyonesfacial proportions are similar in that they fall somewhere within

standard sets of guidelines. Over the years, I have read many books

and articles on this subject, some with very vague suggestions andothers with very complex rules. From my background as a teacher

of fine art and a forensic artist, I prefer to use guidelines that are

easily understood and simple to remember. I also avoidunnecessary technical or anatomical terminology.

With all adult faces following the same proportional guidelines,

youd think that every face would look similar. Not so at all!

In addition to cultural origin and gender, genetics plays a key role

in determining the anatomical appearance of an individual face.The primary factors that contribute to anatomical differences

include facial slopes, cranial masses, and facial masses.

When viewed in profile, facial slopes vary significantly. The

profile drawings in Figure 1201 demonstrate the three fundamental

categories of facial slopes.

Figure 1201: Angle lineshelp you identify the

differences between thethree types of facialslopes; the first is almostvertical; the other two aremore angular.

Frontal views of adult heads also vary significantly. The upper half of the head is called thecranial mass and comes in many shapes and sizes.

Figure 1202: The four

most common shapes ofadult craniums.

Frontal views of adult facial masses are categorized as triangular, rounded, square, or oval.

Figure 1203: Adult facesfit into one of these fourbasic shapes.
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As an Aside

Early in my career as a forensic artist, I did a composite drawing from the description of a witness that seemed tobreak every possible rule of facial anatomy. When I was finished, I was disheartened and thought that therecouldnt possibly be someone who actually looked like this drawing. Then, a couple of weeks later, I was workingat that same police department when one of the investigators from the previous incident said, Oh Brenda, wecaught the guy from that last drawing you did. Would you like to see his photo? What a shock! His photo lookedexactly like the drawing. It was at this time that I gave up on defining facial proportions in terms ofrules, andbegan using the term guidelines.

Figure 1204

In addition to differences in facial slope, and cranial and facial masses, diet, lifestyle, and agecontribute to the ever-changing physical differences of adult faces. For example, the shape of a

face can change considerably with a significant loss or gain in weight.

Naturally, even slight variations to the basic shapes of cranial and facial masses, can result in

billions of totally different adult heads. Which shape (Figures 1202 and 1203) most closely

resembles each half of the following four adult heads?

Reexamine the four adults in Figure 1204 and take note that the following general principles of

proportion apply to each:

The widest part of the skull is around "five eyes wide." In other words, an eye is one fifththe width of the widest part of the skull.

The nose is approximately the same width as an eye.

The ears are approximately the same length as the nose.

The outer corners of the mouth line up vertically with the irises of the eyes.

EXAMI NI NG FACI AL PROPORTI ONS

The shapes of adult heads and the placements of most features will follow the guidelinesdiscussed in this section, but never forget that the proportions of a small percentage of adult

faces wander slightly outside the guideline parameters.


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Figure 1206

Figure 1205 Besides being simple to set up, the followingguidelines are inclusive of most diverse adult

female and male faces (Figures 1205 and 1206).

First of all, the horizontal lines:

Line AB is approximately halfway between

the top of the head and the bottom of the chin.

Eyebrows are located above line AB.

Eyes are touching line AB.

Lower section of the nose is touching line CD.

The base of each cheekbone usually aligns

with line CD (and the bottom section of the

nose).

Ears are mostly between horizontal lines AB

and CD. (The lower parts of the earshorizontally align with the bottom section of

the nose.)

Lower lip is on or slightly above line EF.

Chin is between lines EF and GH.

Secondly, the vertical lines:

The widest section of the head touches lines IJand ST.

Eyes fit in between lines KL and MN, and OP

and QR.

Nose mostly fits into the space between MNand OP (nostrils often extend outside this

space).

Mouth is generally wider than the nose, butthe lower lip fits mostly between MN and OP.

LI NI NG UP ADULT FACI AL

PROPORTI ONS

In this section you use a ruler to set up proportional

guidelines for an adult head. Knowing how to set upaccurate guidelines helps you remember where

everything goes on an adult face.

Simply speaking, you measure and divide the length of a head into two halves (to set up

horizontal guidelines) and then divide the lower half into three equal distances. For verticalguidelines you simply divide the width of the widest part of the head into five equal sections (six

lines). With practice, you'll be able to visually judge proportions without drawing any lines.


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Figure 1207

Figure 1208

Figure 1209

The most common mistake of beginners is todraw an adult's eyes too high on the head. Think

of an adult head as two halves, with the eyes

positioned at the halfway point. Line AB in thefollowing exercise will mark the halfway point

between the top of the head and the bottom of the

chin.

The following guidelines apply to the facialproportions of both men and women.

1) Outline the shape of the top half of anadult head. (Refer to Figure 1207.)

Base the shape of your outline on one of the

cranial masses in Figure 1202.

2) Draw a horizontal line to mark the top ofthe head.You dont need to identify this line with

letters.

3) Add a second line slightly below thecranial mass outline, and mark it AB.

The tiny space above line AB allows room

to later add ears.

4) Measure the vertical distance between thetop of the head and Line AB.

5) Draw line GH below line AB. (Refer toFigure 1208.)

GH is the same distance from AB as the linethat marks the top of the head. GH also

marks the location of the bottom of the chin.

6) Outline the shape of a facial massbetween lines AB and GH.

You can choose a shape from Figure 1203.

The shape of this outline helps determine theplacement of the features.

7) Measure the total vertical distancebetween lines AB and GH and divide it by

three. (Refer to Figure 1209.)

8) Draw two more horizontal lines, CD andEF, at these points.


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Figure 1210

Figure 1211

9) Outline the ears so the tops are above lineAB and the bottoms are below line CD.

(Refer to Figure 1210.)

10) Add two slightly curved lines to mark theouter edges of the neck.

The tops of the neck outlines meet the lowersection of the face above line EF.

11) Identify the widest (horizontal) section ofthe cranium, and draw vertical parallel

lines, IJ and ST, to mark the outside edge

on each side. (Refer to Figure 1211.)

12) Measure the horizontal distance betweenlines IJ and ST and divide this total

distance by five.

13) Add four vertical, parallel lines (KL, MN,OP, and QR) at each of the four points.

Your facial blueprint is complete. Refer to the

illustrations and guidelines in the previous section

of this lesson (Examining Facial Proportions) and

add facial features to your drawing.

If you want to draw a likeness to an actual person,

you need to make sure that each of the following

distances is drawn accurately:

From hairline to eyebrows (vertically).

From bottom of nose to top of upper lip(vertically). (Most experts agree that this

is the most important distance on a face to

draw accurately.)

From lower edge of bottom lip to bottom

of chin (vertically).

Between the eyes, from one inside corner

to the other (horizontally).

From the outside edge of one cheekboneto the other (horizontally).

CHALLENGE

Draw the frontal view of a proportionately correct adult head and face without drawing

guidelines. Rather, use the guidelines in this lesson to eyeball the various distances on yourdrawing paper. You may even prefer to try drawing someone you know (such as yourself).

First, outline the cranial and facial mass of the head; then sketch the placement of the ears,eyebrows, eyes, nose, and mouth; and finally use shading to define the facial forms and hair.


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BRENDA HODDI NOTT - BI OGRAPHY

As a self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda

Hoddinott utilizes diverse art media including graphite, technical pen, colored pencil, chalk

pastel, charcoal, cont crayon, and oil paints.

My philosophy on teaching art is to focus primarily on the enjoyment

aspects while gently introducing the technical and academic. Hence, in

creating a passion for the subject matter, the quest for knowledge also

becomes enjoyable.

>Brenda Hoddinott

adult facial proportions

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