THE EYES

The ocular axis passes through the outer corners of the eyes. The inside corners are below
this ocular axis, no matter what the degree of the head turn is; it is the same for the frontal
face and the 3/4 turn.
The pupils of the eyes always rest on this axis.
The line of the upper eyelid does not go all the way to the inner corner of the eye but stops
where it meets the ocular axis. Because of this property, the size of an eye is calculated
from this point to the outer corner of the eye. The actual inner corner of the eye is located
below the ocular axis but the line of the upper eyelid stops higher.
Based on this observation, we say that all four corners of the eyes are placed on a straight
line. However, since the head is a sphere, this straight line is in reality a circle (Fig. 1)

Figure 1
The line that goes through the inner and outer corners of the eyes is a circle with the center at the point A.

In Figure 2, we have eight naturalistic images of the eyes of various expressions. Note this
important factor: no matter what the expression is, the horizontal line drawn from one
outer corner of the eye to the other passes through the iris, and the both pupils rest on
that line.
No. 7, however, is an exception, for the ocular axis passes through the pupil, but there is an
expressive element as well: the pupils are very large and dark, the upper eyelid is raised,
and the entire iris is nearly exposed, which is never used in iconography.

Figure 2

Figure 3
A detailed analysis of Panselinos' iconography reveals that he was well aware of this
phenomenon, and that he operated within this framework. If he sought a certain
expression, he would paint the pupils above the ocular axis, as seen on Figure 3.
Another observable feature is that near the nose, the eyebrows are very near to the
serenity lines (the arched skin folds between the eye brow and the upper eyelash);
however, the eyebrows then taper off and are placed progressively farther from the
serenity lines, as seen in Figure 3 and 4.

Figure 4
The arches of the upper lids begin and end on the ocular axis B-A (Fig. 4); this is common
for naturalistic photographs as well as images painted by Panselinos.
The distance between the eyes - that is, the distance between the two inner corners of the
eyes - is equal to the length of an eye. Sometimes it is a little larger, but never smaller.
Panselinos follows this principle as well.
While the lines of the upper eyelids begin and end on the ocular axis, the inner corner's
tear ducts are located below the ocular axis. The pupils do not touch the ocular axis, and
are painted slightly above it. This feature is found in many frescoes of Panselinos.

CHANGING SHAPES IN THE PHYSICAL DISPLAY

When we look at the face from below, we may observe that the shape of the eyes changes
considerably. The lower eyelid loses its curved shape and becomes more flat whereas the
upper eyelid's curvature becomes more pronounced.

Figure 5
In Figure 5, we can actually observe that if the face is viewed from below, the lower eyelids
have not only lost their curvature but have even begun to curve upward. The ocular axis
now goes through the lower eyelids; the shape of the serenity lines have changed, and the
eyebrows have also shifted. As the face changes its position and turn, all these axes and
dimensional relationships change too. Any slight head turn changes the nature of these
relationships.
This, however, is the area of naturalistic, realistic portraiture. In traditional iconography, a
different approach was established, for the reasons that are deeply theological and
catechetical. This approach made most of the features such as axes and dimensional
relationships permanent and immutable.

SCHEMATICS AND MEASUREMENTS OF THE LARGER EYE

Figure 6

AB = 2AC
The upper and the lower eyelids are written into the rectangle ABCD, whose length is twice
that of its height, that is, AB = 2AC. It is important to remember that the line AB
determines the lower boundary of the upper eyelash, as the upper boundary of the
eyelashes is placed above the AB line and is not within the rectangle.
GM = MN
G is where the upper part of the pupil touches the lower edge of the upper eyelash;
M is the point on the serenity line;
N is the upper edge of the eyebrow
ON = VM = GI = 1/2 GK (also, ON = IK)
ON is he thickness of the eyebrow in the middle;
VM is the distance between the upper edge of the upper eyelash to the serenity line;
GI is the height of the iris;
GK is the height of the pupil

It is important to remember that GI = IK; that is to say, the lower edge of the pupil halves
the vertical space of the iris and does not go below that point.
UW = 1/2 of GI
Closer to the nose, the distance between the lower edge of the eyebrow to the serenity
line is half of the height of the pupil.
SR = 1/2 of QS
The outer end of the eyebrow (R) ends on the ocular axis Q-J-S; the distance from the outer
corner of the eye (S) to that point (R) is half of the eye's length.
ET = FJ = JE
The distance between the lower edge of the lower eyelash (E) to the line of
the lacrimal sac (T) is equal half the eye's height.
GI = IK = KL
The height of the pupil is equal to the distance between the lower edge of the pupil to the
boundary line of the iris and is equal to the distance from the boundary line of the iris to
the upper edge of the lower eyelid.
The outer end of the serenity line ends on the ocular axis (point P), placed somewhere in
the relative middle between S and R

Figure 7
Oftentimes in frescos (Fig. 7), the iris and pupil are stretched diagonally (1, 3, 4) and not so
often horizontally (2). The diagonal stretch gives the facial expression great intensity,
whereas the horizontal stretch is a milder, calmer form. Look at how Panselinos took the
pupil out of the enclosure of the iris! (1)

COLORING OF THE EYE

It is important to keep the upper eyelid dark and strong, and the lower eyelid lighter and
less prominent. The upper eyelid's entire length is done with burnt umber, and in the
thickest part is reinforced with black. The lower eyelid should be significantly less dark and
have only half the thickness of the upper eyelid. The color is made by mixing proplasmos
with burnt sienna.
The first light on the eye's sclera is done with white + black + proplasmos. The second light
is pure white. The pupil is black. The inner corner can be glazed with cinnabar. The
serenity line is done with mixture of proplasmos and umber.

KANTHOFOS
The most delicate element of the eye is the thin tapering line called kanthofos, the light line
that extends from the inner corner of the eye over the lower eye lid and disappears into it.
It is painted in parallel to the lower eyelid and just above it. This line requires precision and
mastery. It is thick at the inner corner; then, following the line of the lower eyelid, it thins
out continuously, and ends hair-width at the outer corner of the eye, where the two eyelids
meet. This line is one of the brightest on the face and is usually done with pure white.
The first light of the sclera should not touch neither the kanthofos and more so the lower
eyelid; there should be some proplasmos space in between. Neither this first light of the
sclera extends to the corners of the eye.
Under the lower eye lid lies the area called "ocular orbit". It is painted as a shadow left by
the unilluminated proplasmos. This "strip" is parallel to the lower eyelid. The height of this
shade is equal or slightly smaller than the height of the iris.
How to illuminate the area under the lower eyelid: in the larger eye, the brightest area is
near the inner corner, and it fades out towards the outer corner. The illumination is done
horizontally; psymithies are applied to that area in the end. This area is of great
importance and usually is given a lots of attention and detail. The same area under the
smaller eye is often underdeveloped.

THEOLOGICAL COMMENTARY
This approach teaches to all Orthodox churches throughout the world, that the "Christ is
the same, yesterday, and today, and forever" (Hebrews 13:8). This unchanged nature
parallels that of the singing church hymns in ochtoechos (the eight tones of church singing),
the common church architecture, one Church led by the Holy Spirit.
Had the Church not establish these parameters, the iconography would have been left to
individual expression of painters; every iconographer would be free to give his or her
interpretation of theology, teachings of the Church. The art based on individualism would
have flooded the Orthodox churches with sensual images, often surrealistic paintings, and
abstract art. Naturalistic, sensual paintings shift the delicate balance of "Theanthropos" to
its human side, pushing the divine into the foreground; the formalistic, abstract expressions
of the divine obliterate the human side. All of these have permeated the Christian West;
and the Orthodox Church has not been immune to its Western captivity.
Let's then not forget the hymn:
One personhood of the Lord Jesus Christ having two natures, divine and human,
taught us the dogmatic hymns composed praise in psalmodies,
established the forms of iconography, and, giving us such understanding,
revealed the precious faceted jewel.

Figure 8
Each element of the eye has its tonal intensity, as seen in this drawing (Fig. 8).
The darkest are these three elements, which are painted with burnt umber:
1. The line of the upper eyelid;
2. The pupil;
3. The outline of the iris
The eyebrow is usually done with the proplasmos tone used for the hair. Another way of
painting the eyebrow is to use burnt umber for its entire length, and then use a transparent
glaze of proplasmos color used for the face to lessen the intensity of this dark feature, and
make it blend better with the skin tone. The outer edges of the eyebrows (i.e., the
eyebrow ends closer to the ears) must fade out into the proplasmos tone.
The two lightest elements are the lower eyelid and the "serenity line". These are painted
with a mixture of the proplasmos for the hair and proplasmos for the face (or with
proplasmos for the face with a little raw umber added to it).

Figure 9
To teach yourself the correct form of the eye, photocopy the outline drawing (Fig. 9), then
fill in all the forms in their correct intensity, using Fig. 8 as a model.
Use the 4B pencil; it is versatile enough to make the lightest grey and the darkest black.
After practicing, learn to draw the outline shape freehand, and practice some more.

Figure 10

PROPORTIONS OF THE SMALLER EYE

Figure 11
The rectangle ABCD shows the outer boundary of the smaller eye. The proportions of this
rectangle differ from the same of the larger eye. In the larger eye, the height was half the
length; however, in the smaller eye the height (FE) can be slightly larger than the half of the
eye's length (DE or EC). The reason is that while the length of the smaller eye is somewhat
less than the length of the larger eye, their height should remain the same. This shortening
of the length is caused by the slight turn of the frontal face; the length changes but the
height may not. Likewise, the proportions of the pupil, the iris, and the eyeball also may
not change (GI = IK = KL).
In classical iconography this is not strictly adhered. Alternatively, an iconographer may
choose to make the heights of both eyes correlate to their length and be 1/2 of the length
respectively. This aspect of the eyes' height is in the realm of artistic choice.

The serenity line's apex is on the line that passes through the upper line of the nose. The
rise of the eyebrow equals about the height of the eye - that is to say, MV = FE.
We have already mentioned that the eyebrow is a tri-fold structure. This is not so
noticeable in the large eye; it is in the smaller eye that this tri-fold shape becomes
prominent. The point O is located right above the middle of the pupil, and the point P is
located above the space between the outer corner S and the edge of the iris Z.
The height of the ocular orbit (UT) (ocular orbit is the shaded area under the eye), together
with the height of the lower eyelid line, is equal the half of the eye's height (UT = SD).
Here is where we have a difference from the proportions of the larger eye: the large eye's
ocular orbit is half the height of the larger eye but without the thickness of the lower
eyelid. In the smaller eye, we observe the proportion WU = UT. This makes the ocular
orbit's height of the smaller eye slightly less than the same of the larger eye.
The thickness of the two eyebrows is the same.

Figure 12

THE DIFFERENCES BETWEEN THE TWO EYES

Figure 13
The smaller eye:
a. The upper eyelid is more curved;
b. The pupil is at the apex of
the upper eyelid;
c. The serenity line is equidistant from
the upper eyelid at all its points;
d. The lower eyelid is straight

The larger eye:

a. The upper eyelid is flat in the middle;
b. The pupil is slightly off center
of the upper eyelid;
c. The serenity line is closer to the upper
eyelid at the corner of the eye but is
farther away from the apex of the eyelid;
d. The lower eyelid is curved;

Figure 14
The position of the pupil of the eye in relation to the ocular axis and
the perpendicular bisectors of each eye's height.

Nota bene:
Due to the head's slight turn, the pupils are not drawn in the center of the eyes, but slightly
off center. This shift is different in each eye. In we draw a vertical line right in the center of
each eye, which would be the largest distance between the upper and lower eyelids of each
eye. The pupils are not placed on these lines, however. In the smaller eye, the pupil is
slightly off to the side; and in the larger eye, it is quite noticeably off to the side. Note how
the smaller eye's pupil intersects the vertical line by its edge, but the larger eye's pupil does
not touch it at all and is at some distance from it.

RELATIONSHIPS AND DISTANCES

Figure 15

1. The shape of the nose is drawn in such a way that the nasal axis (PO) passes not through
the middle of the nose, and not through the edge, but somewhere between the middle line
of the nose and the edge. This is where the shaded area of the bridge of the nose begins;
nasal axis passes through that terminator line.
2. The ocular axis (GEFH) is placed 1/5 length of the nose below the upper line of the noses'
triangle.
3. The pupil of the eye touches the upper eyelid. The line of the iris is drawn around the
pupil in such a way that the space between the line and the pupil at the lowest position is
equal to the height of the pupil.
4. The lines of serenity are placed above the upper eyelid at the distance slightly larger than
the height of the pupil.
5. Due to the head's slight turn, the pupils are not drawn in the center of the eyes, but
slightly off center. This shift is different in each eye. In we draw a vertical line right in the
center of each eye, this would be the largest distance between the upper and lower eyelids
of each eye. The pupils, however, are not placed on these lines. In the smaller eye, the
pupil is slightly off to the side; and in the larger eye, it is quite noticeably off to the side.
(See Figure 14)
6. The length of the larger eye is half the length of the nose. The height of the larger eye is
half the length of the eye. (See Figure 6) The length of the smaller eye (GE) is equal the
distance between the edges of the nostrils (QR). This change of the length is due to the
slight turn of the head. This turn, however, does not alter the height of the smaller eye
significantly. There is a slight reduction in height but it is so insignificant that in smaller
icons it can be disregarded. In larger images this difference of height might be
incorporated: the smaller eye's height is 1/16 less than the larger eye's.
7. The ocular axis divides the vertical space of each eye into two equal parts (See Figures 6
and Figure 11). Observe, however, how eyelids fit into that box.
8. If we draw a horizontal line (ST) through the upper line of the nose's triangle (K), it will
pass through the apex of the serenity line of the smaller eye. On the other side of the face,
it will pass through the middle of the space between the serenity line and the upper eyelid
of the larger eye.
9. The middle portion of the upper and lower eyelids should flatten. Panselinos
occasionally draws the smaller eye's upper eyelid as an even curve without flattening its

middle section. The lower eyelid of the smaller eye, however, flattens considerably - more
than the lower lid of the larger eye.
10. It is important to give the upper eyelids their proper and substantial thickness.
However, they are never as thick as the height of the pupil.
11. The shape of the serenity lines and their placement in regards to the upper eyelids are
important. In the larger eye, the serenity line begins very close to the inner corner of the
eye, but then as the line moves towards the outer corner, the distance increases and stays
that way to the end. In the smaller eye, the serenity line is at an equal distance from the
eyelid throughout its length. Again, it is important to remember that the distance from the
upper eye lid to the serenity line should be greater than the vertical diameter of the pupil.
12. How to find the lower part of the nasal triangle: draw an imaginary line through the
centers of the pupils. At the points where this line intersects the sides of the nose is the
lower part of the triangle.

THE EYEBROWS
Near the nose, the eyebrows and the serenity lines are at the closest proximity - at that
point, the distant between them is less than the height of the eye's pupil. Moving out,
away from the nose, these lines part. The shape of the eyebrows are lie the wings of an
eagle flying, slightly raised. This "lift" is the highest as the eyebrow line moves past the
outer edges of each iris.
The outer end of the eyebrow lines stops at the ocular axis, and the distance between that
point and the end of the serenity line is less than the width of the iris. As the outer end of
the larger eyebrow tapers off at the point of intersection the ocular axis, this imaginary
curved line is continued in the rounded line of the cheek's lighted area.
The eyebrows retain their thickness throughout the length, but tapers off after the highest
point and becomes less dark.

POSITIONS OF THE PUPILS

In some historical iconography, we might see that mutual proportions of the eyes were not
followed and the two eyes were painted the same size. Doing so decreases the distance
between the two eyes. However, if the pupils are placed correctly and the distance
between them equals the length of the nose, the mistake is not felt and does not come
across as a noticeable problem.
There is also a correlation between the inner corners of the eyes and the placement of the
nostrils. Observe the points E and Q, F and R are located on the respective parallel lines AB
and CD. The width of the lowest part of the nose (QR) is the same the distance between
the inner corners of the eyes (EF).
The line that passes through the upper part of the nose (ST) intersects the nasal axis (PO) at
the point K. The upper line of this nasal triangle is not straight but curves downward,
precisely at the point K. It is interesting as Panselinos made an indentation in plaster at this
point as he was placing markers of his design. Clearly, it was an important point for him to
mark.

This upper line of the nasal triangle is not always parallel to the ocular axis. If the head shift
is greater, the "slope" of this line increases (Fig. 16). Some frescos exhibit an extreme
degree of this modification (Fig. 17):

Figure 16

Figure 17

When the head turn is slight, this "slope" is not so noticeable. Yet, we can observe it
indirectly. If we draw an imaginary line through it, the line will touch the smaller eye's
serenity line at its apex, but in the larger eye it will nearly touch the upper eyelid. (Fig. 18)

Figure 18

6:5 = THE PROPORTIONS OF THE LARGER AND SMALLER EYES

At some point, this question arises: what is the actual difference in length between the
small and the large eye? Answer: the optimal proportion is 6:5 (Figure 19). To figure out
the length of the smaller eye, divide the length of the larger eye by 1.2 (It is important to
remember that the length of the larger eye is equal 1/2 of the nose).
However, in practical iconography most thing should be done freehand, without overly
relying on props. One way to teach yourself this relationship is to practice drawing these
scales - large size, smaller, then even smaller, always retaining the correct proportion. At
some point, you will be able to do this without even thinking about it.
Larger eye
Smaller eye

Lrg
Sm

Lrg
Sm

Figure 19