Series of drawings from the sketch to the definitive representation.Ĭontinue reading here: The Mouth analysis and structure Three-quarters perspective Left profile helix tubercle concha Schematized drawings of the ear Schematized form of the ear Overall sketch Rear view The upper line of comparison AB aligns the hollow at the top of the nose, the upper eyebrow and the tip of the ear, whilst the lower one CD aligns the bottom of the nose with the bottom of the ear. The height of the ear corresponds to that of the nose. Structurally it is made up of an external border called a helix, and an internal one called an anthelix, a softer lower feature at the bottom, the lobe, a protrusion which protects the inside of the ear, the tragus, the tubercle, a small swelling on the curve of the helix and finally the concha of the auricle. The length of the nose starting from the groove at the top C, is equal to the distance between the point at the bottom of the nose and the chin (CD = DE) and to the height of the ears C'D'.Įxternally the ear has the form of a shell or of a large letter C. It is attached to the mouth by the nasal sulcus, which when seen in profile corresponds to the groove beneath the mouth.Īlways in profile, the hollow above the nose is on the same line as the groove below the mouth. The nose is divided into the septum, the alae and the nostrils. The distance between the alae is the equivalent of the width of an eye (AB = A'B'), as the illustration on the page to the right shows. For an accurate frontal portrayal we enclose the nose in an elongated trapezium at the bottom of which we sketch three circles, the central one being larger and the two side ones being smaller. For this proportional analysis we select a well-proportioned nose, even if it is generic in form. Every face has a different nose which sometimes gives it a decisive appearance. This type of study allows the student to understand the exact position of the eyes, visualizing part of the face as if it were o mask The segments as they are sketched here emphasize a sense of proportion underlining the distances, the areas, the internal and external spaces between what is being represented, differentĪs far as the head is concerned, the nose is the most prominent anatomical feature. The half shadows have been removed, greater emphasis has been placed on the outline and on the inside of the upper eyelid. Left: Representation of the real eye with the technique of chiaroscuro. The drawings underline the transition from the eye drawn from life, via its geometrical analysis to the subsequent stylization. In order to draw the eyes accurately give greater emphasis to the lower edge of the upper eyelid and cast a light shadow across the iris.Įyeball eyelash pupil lower eyelid upper eyelid eyeball eyelash pupil lower eyelid form and structure Important embellishments to the eyes are the eyelashes and the eyebrows, which according to their shape and width lend a profundity to the eyes. The distance between one eye and another corresponds to the width of one of them (AB = A'B').
Seen from the front, the eye has the shape of an almond, while in profile it assumes a triangular aspect. The eye is protected by the eyelids, the upper one being thicker and broader while the lower one is thinner. The third eye is more sLylized and has more clearly defined outlines.įrom an anatomical point of view the eye is made up of the perfectly spherical eyeball inside of which we find the iris in various colours and the pupil. The second eye is more artificial, the half shadows having been removed. In the first drawing the eye is similar to real life, sketched with darker shadows and half shadows. Technically the effect of light is obtained by making small white circles inside the iris and the pupil, whilst giving greater prominence to the shadow which the upper eyelid projects upon the eye. It is inconceivable to draw fashion designs without portraying the eyes, as one would be depriving oneself of the soul. Among the various features of the face they are certainly the most important. It is not by chance that the first contact with another person is indeed determined by the eyes. In a face the eyes are certainly the most truthful reflection of a state of mind. The eyes represent the most emotive part of the face, because they assume an infinite variety of expressions which are capable of communicating the most varied feelings. Having considered the analysis of the human body in the Greek canon and the fashion canon, let us move on to examine all of the anatomical components, beginning with the details of the face.
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