THE HUMAN FIGURE PRESENTATIONBY MARLON L. LALAGUNA

THE HUMAN FIGURE: PROPORTIONS As you will see in the sample illustrations here, the proportions of both male and female are similar vertically but differ slightly horizontally. The widest area of a man is usually his shoulder his shoulders, whereas in a mature woman it is usually the hips. Generally, but by no means universally, the male is larger than the female and has a less delicate bone structure.

THE HUMAN FIGURE: PROPORTIONS

The difference between a fully grown adult and a child is a more dramatic, with the average child’s head being much larger in proportion to the rest of the body. Usually the legs and the arms are the slowest to grow to full size.

THE HUMAN FIGURE: PROPORTIONS Not many people conform exactly to the classical ideal of proportion, but it is reliable rough guide to help you draw the human figure. These proportions only work if the figure is standing straight and flat when head held erect.

THE HUMAN FIGURE: PROPORTIONS

Classical proportion is worked out on the basis of the length of one head fitting into the full height of the body eight times.

The half way mark is the public edge of the pelvic structure, which is proportionally the same in males and females. The knees are about two head length from the center point

THE HUMAN FIGURE: PROPORTIONS When the arm is hanging down loosely the finger tips should be about one head length from the central point.

THE HEAD: PROPORTIONS

Most of the significant differences evident in the face are due to the variations of the fleshy parts rather than in the underlying bone structure. However, the forehead, cheekbones and teeth can be more prominent in some people than others. A child shows a smaller jaw, which is the last part of the bone structure to develop.

The main divisions can

be clearly seen here.

THE HEAD: PROPORTIONS

1. The eyes are half-way down the head.

2. The length of the nose is about a quarter of the full-length of the head.

3. The mouth is about one-fifth of the length of the head from the base of the chin if we measure to where the lips apart.

4. The width of the head when look at full on and in profile is about three-quarters of the length of the head.

5. The distance between the eyes is one-fifth of the width of the head.

6. The length of the eye from corner to corner is also one-fifth of the width of the head.

7. Unless there is balding, the hair takes up about half the area of the head. This is calculated diagonally from the top of the forehead to the back of the neck as shown here.

EXPRESSIONS

We also need to look at the different kinds of expressions which the face presents us with. These examples are all taken from classical paintings or photographs.

Taken from Botticelli, this gives a very simple, clear view of the features in relaxed, attentive mode.

EXPRESSIONS

A slightly anxious or suspicious face with one eyebrow lowered, eyes to one side, mouth closed

firmly; from Velasquez.

EXPRESSIONS

Religious awe, as depicted by Caravaggio.

EXPRESSIONS

A joyous expression, with a contented open smile; from

Riefenstahl's film of 1936 Olympics

EXPRESSIONS

Expectant, obviously enjoying, some event but slightly apprehensive or unsure.

EXPRESSIONS

A surprised face, looking down at something with pursed lips,or

perhaps just trying to blow out a candle.

EXPRESSIONS

A wide-eyed gentle smile, eyebrows raised but eyelid half down.

EXPRESSIONS

A slightly conspiratorial look with open-mouthed smile and

wrinkled brow as though enjoying a good joke.

EXPRESSIONS

A dolorous face slightly inclined with a faintly wry smile.

EXPRESSIONS

Mouth agape in shout or gasp, eyes wide open, brow wrinkled in some astonishment or perhaps terror.

EXPRESSIONS

A head that seems to express defiance, alertness and power, taken from Michelangelo’s statue.

REFERENCE:

Barber, B. (2012). The Fundamentals of Drawing. Pp. 34-37, 144-145