Drawing a frontal face, step by step

1. Draw a vertical line which would serve as the nasal axis for the face.
Mark the height of the head, and divide the line into four equal parts.
Mark the third segment from the top as "the nose". (Fig. 1)
After the length of the nose is established, draw the tentative outline of
the nose around the segment.
Figure 1

2. Draw a tentative shape of the

nose within this segment around the
nasal axis in such a way so that the
nasal axis passes not in the middle of
the nose but to the side.
The width of the nose at the nostrils
(AC) is 5/12 of the length of the
nose. This is an important
measurement as this will be the
length of the smaller eye and the
distance between the inner corners
of the eyes. It is easy to place the
wings of the nostrils around the
nasal axis as these lines are located
equidistantly from the nasal axis
(AB = BC).
Figure 2
However, because the nasal axis
passes through the nose a bit to the
side and not in the center, one of the nostrils will be larger than the other one.

3. Find the placement of the ocular axis; it is located 1/5 length of the nose below the
nose's upper boundary line. Here is how to find 1/5 of the nose. On the constructed scale
in Fig. 2, 1/5 of the nose is between the second and third marker from the top of the scale.

4. To find the correct placement of

the eyes, first find the positions of the
inner corners of the eyes in relation to
the nose. The proportion between
the larger and the smaller eye is 6:5.
That is to say, if the larger eye is 1/2
of the length of the nose, the smaller
eye is 5/12 of the nose. The distance
between the inner corners of the eyes
is equal to the length of the smaller
eye as well as the distance between
Figure 3
the two wings of the nose.
AB = CD = DF. The placement of the
inner corners of the eyes is crucial. Because of the 60/40 turn of the head, the distance
from the smaller eye's inner corner to the bridge of the nose should be smaller than the
corresponding distance on the other side of the face. Hence the formula: the proportion
between DE and EF is 3:2. The total length of DF is 5/12, and the points D and F are easy
to find using the constructed scale; DE = 3/12, and EF = 2/12. (Make an note that the point
E is located on the edge of the nose, and not on the nasal axis)
From points A and B of the nostrils, extrapolate two vertical lines to ascertain the position
of the inner corners of the eyes. Should there be a significant deviation, correct the lines
of the nostrils. If the two nostrils are of the same size, it would contradict the 60/40 turn
of the head.
5. Determining the height of the eyes
The height of an eye is its length divided in two. Since we have a difference in length
between the two eyes, we have two options regarding their heights:
a. To make both eyes of the same height. In this method, it is more practical to work
from the larger eye's dimensions, establish its height, and then transfer this
measurement to the smaller eye. In this case, the height of the smaller eye will be
more than the half of its length.
b. To make the height of the larger eye equal to the half of its length. In this case, the
larger eye will not be only longer than the smaller eye, but its vertical dimensions
will differ.
If the second option is chosen, there should be certain modifications of the iris and the
pupil to accommodate this enlargement.

Besides the 60/40 turn, many classical images have a slight lift of the head. This gives the
face an expression that is "not of this world." It is an option for an iconographer to
introduce such an upward shift; it has to be very small to be organic. It is first and
foremost manifested in the placement of the eyes in relation to each other. Here is how it
is done.
We start with designing the rectangular enclosures for the eyes. It's best to work from on
the smaller eye first. The lower side of the smaller eye's enclosure will determine the
placement of the lower eyelid.

Figure 4

Draw a line (EF) parallel to the ocular axis at 1/3 of the nose's length counting from the
upper line of the nose (CD = 1/3 of the nose). The lower edge of the lower eyelid of the
smaller eye will rest on this line.
Build the rectangular enclosure of the smaller eye. The height of the rectangle will be 1/2
of its length. (And its length is 5/12 of the nose and is also equal to BA).

Draw another line (GH), just a fraction above the first EF line. The distance between these
two lines is the thickness of the lower eyelid of the smaller eye.
On the larger side, build a rectangular enclosure for the larger eye, resting on the GH line.
As the length of the eye is 1/2 of the length of the nose, the eye's height is 1/2 of its
length, or 1/4 of the length of the nose.
Thus the large eye is not only larger but is also elevated ever so slightly, by the thickness of
the lower eyelid. The larger eye's height (the rectangle's vertical sides) is not much larger
than the corresponding sides of the smaller rectangle. In Figure 5, make a note how the
red dotted line KL passes through the eyelids of the both eyes - under the eyelid of the
larger eye, over the eyelid of the smaller eye.

L
K

Figure 5

When drawing the eyelids into the rectangular enclosures, it is important to remember the
following guidelines:
1. The lower lids of both eyes rest on the lower side of their rectangular enclosures.
2. The upper eyelids rise above the upper side of their rectangular enclosures, but still
touch the line with their lower boundary.
Note that the outer corner of the larger eye may be placed a little higher above the ocular
axis because of the upward shift of the larger eye. If no modification to the larger eye is
made, all four corners of the eyes will be on the same line.
Other parts of the eye change their relative positions in relation to the horizontal axes:
1. Note the relative positions of the upper boundaries of the upper eyelids in relation
to the KL line (Figure 5);
2. Note the positions of the serenity lines in relation to the horizontal line passing
through the top of the nose ("the upper nasal line", Fig. 5)
3. Note the positions of the iris and the pupil in relation to the ocular axis.
PLACEMENT OF THE PUPILS
Draw short vertical lines in the center of each eye, where the distance between the eyelids
is the widest. Observe how pupils are placed in relation to these vertical lines (Fig. 6). If
the drawing is executed correctly, the distance between the pupils should be 1 length of
the nose. The irises are drawn around the pupils, and the distance between the edge of
the pupil to the round line of the iris at the lowest part should be equal to the height of
the pupil (Fig. 7)

Figure 6

Figure 7

THE EYEBROWS (Figure 8)

1. Draw a line (AB) at the distance of 1/3 of the length of the nose above the ocular axis
and parallel to it. This line will help us to build the correct shapes of the eyebrows.
2. On the ocular axis, mark the points G and H; the eyebrows end at those points. The
point G is located at 1/2 of the length of the smaller eye; the point H is located 1/2 length
of the larger eye.
3. Draw two vertical lines from the points C and E; the point C is located on the outer rim
of the iris (smaller eye), and the point E is located on the outer rim of the pupil (larger
eye). The points of intersection with the AB line will give us the points D and F. These will
serve as guides to draw the correct curve of the eyebrows.
4. Begin with the smaller eye and draw the curved shape of the upper boundary of the
eyebrow. It rises from the nasal triangle to the point D (its highest point) and falls to the
point G. Pencil the lower boundary line of the eyebrow. The thickness of the eyebrow
equals the height of the pupil.
5. Proceed to the larger eyebrow. Draw the curved shape of the lower boundary of the
eyebrow. Its apex is at the point F; its outer end is at the point H. The DG and FE curves
mirror each other. Pencil the upper boundary of the eyebrow; the thickness of the
eyebrow equals the height of the pupil.

Figure 8

MOUTH
Because of the 60/40 turn of the head, the mouth is
also slightly shifted. To find the placement of the
lower lip, draw two lines - one from the nose bulb of
the smaller side, and the other from the larger eye's
inner corner, passing through the line of the nostril
(Figure 9)

Figure 9

Adjust the nasal triangle

Up to this point, the shape of the nasal triangle was approximate. To give it its final
definition, connect the centers of the pupils with a line. The points, at which this line
intersects the nose will define the termination points of the nasal triangle (Figure 10).
Adjust the triangle. Note that because of the larger eye is lifted slightly above the ocular
line, these points will be also at a slight angle.

Figure 10

The illumination of the cheeks begins at the outer corners of the eyes on the ocular axis.
This is where cheekbones begin. On the smaller side, the illumination of the cheekbone
begins near the outer corner of the eye; on the larger side, it begins at some minor
distance below the outer corner of the eye, on the ocular axis.
In Figure 10, all these geometrical elements are brought together.
Once the drawing is complete, look at it and adjust what you think should be adjusted.
Expression is more important than geometry or mathematics. The old masters knew these
rules very well, but they were not slaves to them.

Figure 11

Figure 12

THE EYEBROWS
When the eyebrows are slightly lifted towards the outer ends, they are reminiscent of an
eagle's wings in flight. This lift, if present, is very important for the facial expression.
Eyebrows begin at the upper nasal line, at the very corners of the nasal triangle, ascend to
their apexes, descend in a circular curve, and, tapering off towards the ocular axis, stop
there.
We should keep in mind a few important points about the eyebrows.
1. At the nose, the eyebrows and the serenity lines should be very close. The distance
between them grows as the eyebrows move towards the temples. This point is
particularly crucial in iconography of the Savior. The lifted eyebrows signify
discernment and a penetrating gaze. Disruption of this element brings about a
significant alteration of expression.
2. At their outer ends, the eyebrows must descend to the level of the ocular axis;
finishing them half-way is a mistake. When the eyebrows extend to the ocular axis,
the expression become rigorous.
3. Attention must be given to the thickness of eyebrows. The thickness stays nearly
the same all through the length of the eyebrow, to about the outer corner of the
each eye, and begins to taper off quickly once past that point.
The color used for the proplasmos of the eyebrows is the same as the proplasmos for the
hair. In case of the Savior, it is quite dark. At the base of the nose, where the eyebrows
begin, there are four short upward strokes of black color (see Figure 12). This technique
seems to be present in most icons of men, and occasionally women. What is important
that there is should not be much tonal difference in color between proplasmos of the
eyebrows and these vertical strokes. The proplasmos is quite dark, so the vertical strokes
seem to be a harmonious and natural continuation of the same tone. However, Panselinos
himself would not follow this rule and make these vertical strokes quite in contrast with
the color of the eyebrow (see Figure 13)
Here is the technique Panselinos used for his image of the Savior:
1. He applied the proplasmos of the hair to the entire length of the eyebrows.
2. His second step was applying a series of transparent washes of burnt umber to
darken the eyebrows near the nose, so that there is a seamless transition from dark
to light towards the outer ends of the eyebrows.

3. He then applied a series of vertical thin brushstrokes of with black paint to the inner
ends of the eyebrows near the nose. However, they blend with the darker tone of
the proplasmos so well that they barely register unless viewed up close. Panselinos
used the same technique with his image of the Theotokos Enthroned, so this
technique was not reserved for male faces only.
It is also important to remember that there is a hierarchy of the dark lines in the face.
That is to say, not all the dark lines are the same, and they have their own particular scale
and order.
Here is the list, from the darkest to the lightest:
1. The darkest are the pupil and the upper eyelid; these are painted with pure black.
2. The eyebrow is a bit lighter, with only the upward strokes of black lines at the base
of the nose.
3. The round line of the iris and the serenity line are even lighter
4. Finally, the lower eyelid's line is only slightly darker than the proplasmos for the skin.

There is an interesting device

occasionally found in Panselinos'
work. If we look up close, we will
find a series of dots placed on one
or both sides of the nose. A series
of red dots on the light side of the
nose (Fig. 13), and often a
corresponding series of dark dots
on the shadow side of the nose.

Figure 13

Structure of the eyebrows

Very often, iconographers find it difficult to paint eyebrows. The reason is that the shape
is not simple, but like in any other part of the face, it has a compound structure. This
structure is hiding in plain sight and many do not even suspect of its existence. Careful
study and comparison reveals this it.
There are three elements in an eyebrow:
1. The base near the nose - AB;
2. The middle section - BC;
3. The curved finishing section - CD .

The base of the brow (AB) touches the corners of the nasal triangle at the points a and a1.
From that place both eyebrows ascend obliquely. Their angular beginning (Aa and A1a1)
imparts to the face an expression of vigor; if an iconographer wants that expression, that
area should be accentuated in this way. The underside of this segment (ab, a1b1) is not
not parallel to AB and A1B1 but ever so slightly convex, it has a slight downward curve.
However, the upper line (AB, A1B1) is straight, not curved. This part of the brow is a little
thicker than the other two parts.
The middle section (BC) is very important, because it imparts a subtle expression of
stability, serenity, and peace. Both upper and lower edges are straight lines, but the lines
are not parallel to each other because in this section the eyebrows begin to taper off.

It is very important to point out that the middle section on the smaller side is significantly
smaller than its counterpart on the larger side, and in some icons is not ever present.
The final segment (CD) rapidly thins out until it turns into a single point on the ocular axis.
It also gradually becomes lighter and lighter and finally blends into the flesh.
The next step is to round off all the angles, as if with sandpaper:

Practice copying various eyebrow shapes

from different saints, eras and schools.
There is a lot of variation, and one can
learn to see the internal structure of the
eyebrows and replicate them with ease.