The shoulder-line mark is a quarter of one head down. This leaves space for the chest above the clavicle and for the neck-support muscles.
The Torso Triangle: The shoulder line is two head lengths (not widths) wide, and is the top line of the torso triangle that extends down to the space between the legs. The chin-to-shoulder line is a half of one head length. The nipple line equals one head length, the top of the third head trunk. The belly button to the space between the legs is one head, the bottom of the third trunk head (Figure 1.8).
Figure 1.8 Torso Triangle
The leg space is four and a quarter heads down from the top, including the quarter neck space. The center head overlaps by a quarter of a head. The width of the waist at the belly button is one head length. From the top line of the hip or trunk triangle to the space between the legs is three-quarters of one head high, and is two head widths wide. You get the idea!
The center of the body is the bend line, and can also be measured as four heads up from the base (Figure 1.9).
Figure 1.9 Full Body with Bend Line
Bodies in Motion
In art and anatomy, the center of gravity is the point of the body that dictates where the weight is distributed. An imaginary axis used by artists determines where the weight of the body changes. When sitting, the upper body trunk and head rest on the pelvis. When someone is standing, the body is supported by the feet. In movement, such as walking, the center of gravity is pushed forward by the foot and then supported once again. Walking has several movements. Up-and-down movement of the body takes place with each step. Swinging is caused by the center of gravity being shifted from one leg to another. Twisting movements
Figure 1.10.
Artist Body, Color Reddish
are caused by the shoulders and hips. When a person walks downhill, his or her center of gravity descends with each step. Makeup Artists interpret these movements on paper, sculpting, or through other artistic media.
Drawing the Body in Motion
by Dan Gheno
Begin to draw with a scribble-like gesture, moving randomly back and forth across the page, rapidly drawing the model from head to toe and from one side of the figure to the other side. Once you have a feeling for where the figure drawing is headed, start to toss in lines of action, sweeping angles that crisscross through the figure. Begin to gauge the positive and negative shapes (Figures 1.11 and 1.12).
Figure 1.11 Drawing Body in Motion
Figure 1.12 Drawing Body in Motion
Angles: Continue to let your hand amble, drawing seemingly random, angled lines throughout the figure, trying to find the forms that line up with or contrast with each other. In this case, for instance, note how the line of the model's right inner ankle lines up with the outside of her right hip. Observe how the complex angles of the right side of the torso contrast with the figure's simpler, flatter left side. Don't limit your use of angles to the inside of the figure. Let them broadly enwrap the outside of the figure. Collectively, the outside angles are called the envelope. Use them to judge the negative space between the limbs and the torso, as well as the general relationship of the ground plane.
Positive and Negative Space: Utilize negative and positive space to help you analyze the forms of the figure (Figure 1.13). Look at the so-called empty space, or negative space, between the legs, as well as between the left arm and the head. Also look at the space between the right arm and the body. Ask yourself: How big or small are these shapes? Are they long and narrow or short and broad? Do the same for the positive shapes or body forms. For example, how wide are the model's calves compared to her ankles? To keep the relative sizes of your positive shapes under control, gauge each body part against some other basic unit of measurement (see the section “Proportions for the Face and Body” by Don Jusko). For instance, how many head units does a leg measure?
Figure 1.13 Drawing Body in Motion
The Line of Action: Look for the internal, directional movement of the forms that you are drawing. You can set them up with lines of action such as the ones drawn in the diagram. Don't be surprised if your initial sketch looks like a stick figure. Sculptors block in their figures in a similar fashion by using what is called an armature, a framework of metallic rods that will govern the thrust of their sculpted clay forms. Whether you are drawing or sculpting, you can use these very simple lines of thrust as a foundation for the outside curves and to orient the overall gesture of the figure (Figure 1.14).
Figure 1.14 Drawing Body in Motion
1. On the paper, put a mark where you want to place the top, midpoint, and bottom of the figure. Try to stay within these boundaries when sketching the figure. Observe the center of gravity, which is represented by this vertical line that falls downward from the pit of the neck. Also observe all of the contrasting, shifting subforms of the figure. The head, neck, chest, hips, and legs are balanced back and forth over this line, one on top of the other.
2. You will usually find the midpoint of the standing figure at the hip bone.
3. The hip usually tips upward above the supporting, weight-bearing leg. Note that the shoulders usually slant in the opposite direction of the hips.
4. Where is the crescendo, or peak, of the curve? It is almost never in the middle of the curve.
5. It is important to find the ground plane of the floor under the feet.
In conclusion, there are as many ways to start a drawing of the human figure from life as there are artists. The brief outline above is a personal approach to illustrations. It was prepared for students, and has been adapted from an article in American Artist magazine (Gheno).
Understanding the portions of the face and body will lead you to the art of makeup. Mastering the proportions of the face will enable you to create and design any look.
In the well-known Muller-Lyer Illusion, a straight line with flanges pointed outward seems longer than the one with them turned inward. The one tugs the attention beyond the line and seems to lengthen it, the other pulls it center and shortens it. Makeup Artists exploit this effect. For instance, by daubing shadow above the outer ends of the eyes, they draw them further apart. By applying it above the inner corners, they narrow them. (McNeill, 297)
A Makeup Artist will use this principle to compose features that are necessary for the character or beauty makeup. In all areas of makeup, you need to trick the mind as to what is being seen (Figure 1.15).
Figure 1.15 Muller-Lyer Illusion
Everyone has their own unique facial features and characteristics. As in drawing, where you place a shadow or highlight represents what you are visually saying about your makeup. In anatomy, the placement of the skeletal and muscle systems in each individual highlights those unique features. Theatre is one of the strongest examples of changing shapes to create characters, although these techniques can be used in all areas of makeup application.
Face Shapes
There are five basic face shapes that are used most often. Many people have a combination of face shapes. Face shapes can be used as a guide, but would also determine where to place shadows and highlights according to what makeup look you are creating. (See Chapter 8, Design.)
Following are the five basic face shapes for you to identify and understand the differences:
Square Face: Large face, straight hairline, square chin, and cheekbones not particularly prominent (Figure 1.16)
Figure 1.16 Square Face Shape
Diamond Face: Smaller in the chin and forehead (Figure 1.17)
Figure 1.17 Diamond Face Shape
Heart Face: Larger on the forehead and smaller at the chin (Figure 1.18)
Figure 1.18 Heart Face Shape
Oval Face: Evenly spaced (Figure 1.19)
Figure 1.19 Oval Face Shape
Round Face: No strong angle, widest at the cheekbones (Figure 1.20)
Figure 1.20 Round Face Shape
Eye Shapes
Eyes can be categorized into six basic shapes:
Even-Set, or Balanced, Eyes:
Equals one eye length apart (Figure 1.21). This is the eye shape that is considered the “perfect” one aesthetically. You can do almost anything with the evenset eye, and not be concerned with corrective makeup.
Figure 1.21 Even/Balanced Eye
Wide-Set Eyes: Are spaced farther apart than the length of the eye (Figure 1.22). To bring the eyes closer together, place a dark color on the inside inner corner of the eye.
Figure 1.22 Wide Set with Dark Color Applied
Deep-Set Eyes: Are recessed farther into the eye socket (Figure 1.23). To bring them out, place a lighter-colored shadow on the upper lids. Use medium rather than dark colors in the eye crease. Less is more with this eye shape.
Figure 1.23 Deep Set with Light Color Applied
Large Eyes: Will in some cases need to look smaller (Figure 1.24). A large eye conveys surprise and/or shock, which we will cover later in our discussion of facial expression. To make the eye appear smaller, use dark colors on the eyelid and eye crease.
Figure 1.24 Large Eye with Example of Making it Smaller
Round Eyes: Can handle most colors (Figure 1.25). The eyeliner will need to be adjusted if you have to make the eye look more almond-shaped. Place eye-shadow color on the eyelid, blending up at the outside corners. You can also place a dark color on the outer top corner.
Figure 1.25 Round Eye with Color
Small Eyes: Need light-colored shadow to open them up (Figure 1.26). Dark colors will only make them smaller. To give the illusion of a larger eye, use a light color on the eyelid, and medium color in the eye crease. Again, less is more.
Figure 1.26 Small Eye with Color
Lip Shapes
Full lips are considered the perfect aesthetic. There are situations where you will have to create the illusion of smaller lips. To do this, apply lip liner just inside the natural lip line (Figure 1.27).
Figure 1.27 Full Lips Made Smaller
Choose a liner that is close in tone to the lip tone, or match to the lipstick. Lipstick colors should be medium to dark.
Thin lips can be made larger by applying lip pencil to just outside the natural lip line (Figure 1.28). The farther out you place the line, the larger the lip, but take care to check the symmetry of your work. This is an area in which, if things are not done properly, the illusion does not work. Choose a lip pencil that corresponds to the lipstick color or slightly darker. Powder the lip pencil before and after the application of lipstick. This will set the “new” lip line, as well as help keep the makeup from bleeding. Lipstick colors in light to medium tones are used to create larger lips, as well as all-red tones.
Figure 1.28 Thin Lips Made Larger
To create an even lip shape on someone with a thin upper lip, apply lip pencil on or just above the top lip line (Figure 1.29). Then line the bottom lip at the lip line. Use powder to set, and then apply lip color.
Figure 1.29 To Correct Thin Upper Lip
To balance a thin bottom lip with the top lip, do the reverse (Figure 1.30). Line the top lip at the natural lip line. Line the bottom lip past the natural lip line to create balance and symmetry. Again powder to set your “new” lines.
Figure 1.30 To Correct Thin Bottom Lip
What if you do not need or want to change the lip shape? In this case, apply lip liner right at the natural lip line and fill in with lip color. You do not need to powder, because you have not changed the natural line. However, if it is a kissing scene you should powder the lips to set the makeup, or use a lip stain.
Drawing Lessons
The more often you practice drawing skills, the better you'll translate that into makeup applications. Learn to see faces as planes, edges, and shadows or a living sculpture. The first lesson is a basic exercise in observation and letting go—two skills that a Makeup Artist will use often. Lessons Three and Four will train your mind to see faces and objects as shapes. When working with any of these lessons, you never want to erase.
Lesson One: Contour Drawing
This lesson should be repeated using a different part of the body each time (hand, torso, arms, and so on).
1. Choose a face or figure. (Use a live model.)
2. While staring at the model, put your pencil down onto the drawing paper at the point where you want to start.
3. Follow the edge of the form with your pencil (without lifting the pencil) onto your paper without looking down at what you are drawing.
4. After moving around the edges of the object, move your pencil inside the object. Draw the contours and planes of the inside features without lifting your pencil.
5. Now look down at your work. Add shadows or highlights to your drawing.
Lesson Two: Contour Drawing
1. Choose a few (three or four) photos of faces from a magazine.
2. Repeating the steps in Lesson One, do a contour drawing of each photo.
3. Using carbon paper, transfer each drawing that you finish onto a clean sheet of paper, overlaying each drawing on top of the other, creating your own design.
4. When you are done with step 3, fill in any shadows, highlights, or textures around and inside the drawings.
Lesson Three: Shadows
This lesson will enable you to see faces and objects in different shapes created by light and dark.
1. Find a photo of an interesting face with a lot of contrast.
2. On a clean sheet of paper, re-create the face in the photo using only the shapes of the shadows and highlights. Try not to use any lines. If this is difficult, you can work on one area of the face at a time (nose, eyes, lips, chin, and so on).
Lesson Four: Shadows
1. Take a cloth of some sort—for example, a light-colored sheet.
2. Bunch the sheet up into peaks and valleys.
3. Set a simple light source over the sheet.
4. Observe how the cloth looks under the light. Where do the shadows fall with each crease?
5. With a pencil, draw the sheet using simple outlines and only shadows, filling up the entire paper. Your design should go off the edges of the paper. At the end, your material may have a look of fluid movement or even resemble a mountaintop.
References
Barcsay, J., Anatomy for the Artist, In: The Center of Gravity (2006) Sterling, New York.
Fehér, G., Cyclopedia Anatomicae. (2006) Black Dog and Leventhal, New York.
Gheno, D., www.dangheno.net; (adapted from Starting a Figure Drawing from Life. American Artist 17).
Jusko, D., Human Proportions and Painting, www.realcolorwheel.com.
McNeill, D., Constellation of Desire, The Skin Code. (1998) Little, Brown, Boston.
2. The Body
Anatomy is important for the Makeup Artist. Makeup Artists who are asked to create anything that is directly related to the human body will study the vascular, muscular, and skeletal systems to correctly interpret how the makeup or appliance will be executed. The muscles that help form facial expressions, support the skeletal system, and protect internal organs are as important to the Makeup Artist as how the body moves and the center of gravity. Understanding the vascular system adds to our knowledge of how to achieve realistic trauma. There are countless books on the subject, and we highly recommend owning a collection of anatomy books as well as medical reference books.
Anatomy is the study of the human body. The skeletal system is the physical foundation of the body, with 206 bones of different sizes and shapes. The skeleton is for the most part moved by muscles acting as levers. Bones can be classified as long, short, or flat. Joints are two or more bones that fit together. Facial bones determine the high and low planes of the face—characteristics that make us all different from each other. The primary function of the skeletal system is to support the body, protect internal organs, serve as attachments for muscles, produce white and red blood cells, and store calcium. The skeletal system is divided into two different areas: axial and appendicular. The axial makes up the skull, vertebral column, sternum, and ribs. The appendicular is made up of the upper and l
ower extremities.
The skull of the skeleton is also divided into two parts: the cranium, which protects the brain and has 8 bones, and the facial skeleton, which is made up of 14 bones.
Figures 2.1 and 2.2 show the surface anatomy of the face, and Figure 2.3 shows the skeletal system.
The Makeup Artist Handbook Page 2