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T T T T T FIRST, LOOK FOR: THE BIG, IMPORTANT PLANE CHANGES ON THE FRONT, SIDE, BACK, TOP AND BOTTOM (A). THEN LOOK FOR THE SECONDARY PLANE MOVEMENTS, LIKE THE CYLINDRICAL MOUTH UNIT (B) OR THE ROUNDED FRONTAL BONE (C). T NOTICE HOW SHADOWS REFLECT PLANE OR FORM CHANGES. WHERE THE PLANES CORNER DECISIVELY, THE VALUE CHANGES MARKEDLY. WHERE THE PLANE CHANGES ARE SOFTER, THE VALUES MAKE A SMOOTHER TRANSITION. ALSO, NOTICE THAT HIGHLIGHTS TEND TO OCCUR AT THE PLANE BREAKS AND BONY RIDGES. NOTICE HOW THE SPECIFIC FEATURES, LIKE THE NOSTRILS, EYES AND LIPS, STAY SUBSERVIENT AND STAY WITHIN THEIR UNDERLYING PLANES AND VALUES. T WHEN TRYING TO SEIZE A LIKENESS, USE STANDARDIZED PROPORTIONS AS A JUMPING OFF POINT. THE CLASSICALLY PROPORTIONED FACE CAN BE DIVIDED INTO THREE EQUAL PARTS (HAIRLINE TO EYEBROWS, BROWS TO NOSE BASE, BASE OF NOSE TO CHIN). ON A SIDE VIEW, THE EAR IS USUALLY LOCATED OBLIQUELY (D), AND BEHIND THE MID-POINT OF THE HEAD WIDTH. THE DISTANCE FROM THE EAR TO THE OUTSIDE OF THE EYE IS OFTEN THE SAME AS THE DISTANCE FROM THE EVE TO THE OUTSIDE OF THE MOUTH (E). FROM THE FRONT OR NEAR FRONT, THERE IS USUALLY ONE EYE’S WIDTH BETWEEN EYES. THE OUTSIDE OF THE NOSE USUALLY LINES UP ALONG A PLUMB LINE WITH THE INSIDE OF THE EYE. THE OUTSIDE OF THE MOUTH UNIT USUALLY LIES DIRECTLY BELOW THE CENTER OF THE EVE. T OF COURSE, THE LIVING HUMAN BEING WILL ALWAYS. DIFFER FROM THESE PROPORTIONS IN SOME SUBTLE AND OFTEN DRAMATIC WAYS. BUT STARTING FROM THESE GENERALIZED PROPORTIONS, YOU AT LEAST HAVE A MEASURING STICK TO COMPARE YOUR MODEL AGAINST, TO DECIDE WHERE YOUR MODEL’S FACE DIVERGES FROM THE “CLASSICAL NORMS.” T LOOKING AT THE DRAWING OF THE WOMAN’S FACE ("THE WATCHER"), YOU WILL NOTICE THAT THE MOUTH UNIT OR MUZZLE IS SLIGHTLY SHORTER THAN THE OTHER FACIAL UNITS. THE NOSE UNIT IS LARGER THAN BOTH MOUTH AND FOREHEAD UNIT. |
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