1. THE CANON OF BEAUTY
(C) 2012 - Professor Joseph
Finocchiaro

2. FACIAL PROPORTIONS
• The value of studying facial proportions is to make
comparisons with photographs
• Similarities in the size of features can be noted
• Differences in the size of features can be noted
(C) 2012 - Professor Joseph
Finocchiaro

3. FACIAL PROPORTIONS
• Face changes with age so old pictures are of little value from
a restoration point of view
• Two or Three photos from various angles are most valuable
(C) 2012 - Professor Joseph
Finocchiaro

4. FACIAL PROPORTIONS
• Portraits are not effective due to editing and retouching
• Use a magnifying glass to get up close
(C) 2012 - Professor Joseph
Finocchiaro

5. DIFFERENT VIEWS
• Frontal
• Will show size, length, width of features in relationship to the face.
• Profile
• Shows projections and recessions
(C) 2012 - Professor Joseph
Finocchiaro

6. DIFFERENT VIEWS
• Three Quarters View a.k.a. Oblique
• Show appearance of lips and fullness of cheeks
(C) 2012 - Professor Joseph
Finocchiaro

7. DIFFERENT VIEWS
• Turning photo upside down
• Shows face as it appears on a table
• Can also make features more recognizable due to unfamiliarity with
the view
(C) 2012 - Professor Joseph
Finocchiaro

8. HIGHLIGHTS AND SHADOW
• These can change the way a face looks
• Can be caused by natural light or directional light
(C) 2012 - Professor Joseph
Finocchiaro

9. HIGHLIGHTS AND SHADOW
• Highlight
• Surface lying at a right angle to the source of illumination which
reflects the maximum amount of light. The lighter and Brighter Part
• Shadow
• Surfaces which do not lie at right angles to the source of illumination
or are obscured by other surfaces and which reflect little or no light.
(C) 2012 - Professor Joseph
Finocchiaro

10. HIGHLIGHTS AND SHADOW
• Highlights reveal projections and raised areas.
• Shadows reveal creases, grooves, and depressions.
• Try to recreate lighting from a photograph for best results.
(C) 2012 - Professor Joseph
Finocchiaro

11. THE CANON OF BEAUTY
• The rule of proportional, harmonious relationships of the
human face and head which are supposedly pleasing to the
eye
(C) 2012 - Professor Joseph
Finocchiaro

12. THE CANON OF BEAUTY
• Bilateral Forms of Head and Features
• Most do not conform to the Canon, but come close.
(C) 2012 - Professor Joseph
Finocchiaro

13. THE CANON OF BEAUTY
• Most faces do not match symmetrically, we are asymmetrical.
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Both eyes may not be same width
One side of mouth may be wider
One side of nose may be wider
One cheek may be more prominent
Ears exhibit the greatest differences
(C) 2012 - Professor Joseph
Finocchiaro

14. THE CANON OF BEAUTY
• Four surfaces that exhibit similarity of bilateral curvatures
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Forehead
Cheeks
Superior Integumentary Lip
Chin
(C) 2012 - Professor Joseph
Finocchiaro

15. HORIZONTAL LINES
• Divide Face in Half
• Line at Vertex of Cranium
• Line at Eye Closure
• Line at Base of Chin
• Dividing the face into thirds will be discussed below.
(C) 2012 - Professor Joseph
Finocchiaro

16. VERTICAL LINES
• Draw a line down from the medial corner of each eye (inner
canthus) to the wing of the nose.
• Draw a line down from the lateral corner of each eye (outer
canthus) to the sides of the face
(C) 2012 - Professor Joseph
Finocchiaro

17. VERTICAL LINES
• Draw a line down from the middle of the eye to the corner
of the mouth
• Value - to detect variations from the norm or perfect size
relations
(C) 2012 - Professor Joseph
Finocchiaro

18. HEIGHT RELATIONSHIP
• Height of human adult is approximately 7 1/2 to 8 heads tall
• Head length - the distance from the base of the chin to the vertex of
the cranium
• Face length - the distance from the base of the chin to the normal
hairline at its lowest point
(C) 2012 - Professor Joseph
Finocchiaro

19. DIVISIONS OF THE BODY
• First division - from the sole of foot to the patella at its
center point
• patella – knee
• Second division - from the patella at its center point to the
articulation of the pubic synthesis
• pubic synthesis – hips
(C) 2012 - Professor Joseph
Finocchiaro

20. DIVISIONS OF THE BODY
• Third division - from the articulation of the pubic synthesis
to the manubrium of the sternum
• sternum – breastbone
• Fourth division - from the manubrium of the sternum to the
cranial vertex
(C) 2012 - Professor Joseph
Finocchiaro

21. DIVISIONS OF THE ARM
• First division - from the center point of the axilla to the bend
of the elbow
• axilla – armpit
• Second division - from the bend of the elbow to the bend of
the wrist
• Two divisions of the arm will be equal
(C) 2012 - Professor Joseph
Finocchiaro

22. EQUALITIES OF THE BODY
• The distance from the bend of the wrist to the tip of the
longest finger will equal the face length
• The length of the foot will equal the head length
(C) 2012 - Professor Joseph
Finocchiaro

23. EQUALITIES OF THE BODY
• The three lower divisions of the body will be equal to each
other
• The uppermost division of the body will be 2/3 the length of
the other three divisions of the body
(C) 2012 - Professor Joseph
Finocchiaro

24. BORDERS OF THE HEAD
• Superior border of the head - vertex of the cranium
• Middle border of the head - line of eye closure
• Inferior border of the head - base of the chin
(C) 2012 - Professor Joseph
Finocchiaro

25. DIVISIONS OF THE FACE
• Superior division - from the normal hairline at its lowest
point to the eyebrows at their highest point
• Middle division - from the eyebrows at their highest point to
the base of the nose
• Inferior division - from the base of the nose to the base of
the chin
(C) 2012 - Professor Joseph
Finocchiaro

26. DIVISIONS OF THE FACE
• Inferior division is further subdivided into 3 subdivisions
• Base of the nose to the line of mouth closure
• Line of mouth closure to the superior border of the chin
• Superior border of the chin to the base of the chin
(C) 2012 - Professor Joseph
Finocchiaro

27. DIVISIONS OF THE FACE
• Three divisions are equal
• Three subdivisions are equal
(C) 2012 - Professor Joseph
Finocchiaro

28. NOSE LENGTH
• Length of the Nose is equal to each of the following:
• Distance from the normal hairline to the eyebrows
• Distance from the base of the nose to the base of the chin
• Length of the ear
(C) 2012 - Professor Joseph
Finocchiaro

29. NOSE LENGTH
• Distance from the outer canthus of the eye to the center point of the
external auditory meatus (on a line drawn straight through the skull)
• Distance measured from the tip of the thumb to the tip of the index
finger when held parallel to each other
(C) 2012 - Professor Joseph
Finocchiaro

30. SUPPLEMENTAL MEASUREMENTS
• The top of the ear and the eyebrows at their highest point
rest on the same transverse plane
• The inferior margin of the earlobe and the base of the nose
rest on the same transverse plane
(C) 2012 - Professor Joseph
Finocchiaro

31. SUPPLEMENTAL MEASUREMENTS
• The width of the face is 2/3 the length of the face
• The width of the ear is 2/3 the length of the ear
(C) 2012 - Professor Joseph
Finocchiaro

32. SUPPLEMENTAL MEASUREMENTS
• The distance from the tip of the nose to the most posterior
point of the cranium will equal the length from the cranial
vertex to the base of the chin
(C) 2012 - Professor Joseph
Finocchiaro

33. SUPPLEMENTAL MEASUREMENTS
• The following measurements will be equal:
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Distance from the normal hairline to the base of the nose
Distance from the eyebrows to the base of the chin
Distance between external auditory meatuses
Distance from the ear-passage to the tip of the nose
(C) 2012 - Professor Joseph
Finocchiaro

34. HORIZONTAL MEASUREMENTS
• The unit of measurement - eye width
• Width of the eye equals the distance from the inner canthus
of an eye to the outer canthus of that eye
• The face will be 5 eyes wide
(C) 2012 - Professor Joseph
Finocchiaro

35. EYE WIDTH
• The eye width is equal to:
• 1/5 the greatest width of the face, measured between zygomatic
arches
• The distance between the inner canthuses of the eyes
• The width of the base of the nose
• 1/2 width of the mouth
(C) 2012 - Professor Joseph
Finocchiaro

36. EYE WIDTH
• An imaginary vertical line extended from the center point of
the eye will be tangent to the corner of the mouth
• An imaginary vertical line extended from the inner canthus
of the eye will be tangent to the lateral portion of the nasal
wings
(C) 2012 - Professor Joseph
Finocchiaro

37. PHOTOGRAPHS FOR RESTORATIVE ART
(C) 2012 - Professor Joseph
Finocchiaro

38. PROFESSIONAL PORTRAITS
• Valuable because of size
(C) 2012 - Professor Joseph
Finocchiaro

39. PROBLEMS WITH PORTRAITS
• Picture alterations or modifications
• Additional light influences
(C) 2012 - Professor Joseph
Finocchiaro

40. PHOTOGRAPHS
• Snapshots are beneficial because they can reveal several
different views
• A profile snapshot will be extremely beneficial in the
complete restoration of facial features
(C) 2012 - Professor Joseph
Finocchiaro

41. PHOTOGRAPHS
• To see asymmetry in a feature or in features, the
photograph may be inverted and viewed from superior to
inferior
(C) 2012 - Professor Joseph
Finocchiaro

42. LIGHTING
• Surface appearance
• Highlights will reveal a prominence in the feature
• Shadows will reveal a depression or concavity of the face
(C) 2012 - Professor Joseph
Finocchiaro

43. LIGHTING
• Surface appearance is based upon the lighting being used
• normal lighting - illumination from above
• directional lighting - shined directly at the subject
• flat lighting - example: flash bulb
(C) 2012 - Professor Joseph
Finocchiaro

44. USE OF PHOTOGRAPHS
• Compare the photograph to the actual body by measuring
parts of the picture and parts of the body.
(C) 2012 - Professor Joseph
Finocchiaro

45. FACIAL PROFILES
• 3 Basic Profile Forms, excluding the nasal profile when
viewing
(C) 2012 - Professor Joseph
Finocchiaro

46. FACIAL PROFILES
• Convex - the forehead recedes from the eyebrows to the
hairline and the chin recedes from the projection of the
upper lip
• The most common facial profile
(C) 2012 - Professor Joseph
Finocchiaro

47. FACIAL PROFILES
• Concave - the forehead protrudes from the eyebrows to the
hairline and the chin protrudes from the projection of the
upper lip
• Least common facial profile
(C) 2012 - Professor Joseph
Finocchiaro

48. FACIAL PROFILES
• Vertical a.k.a. Balanced Profile a.k.a Straight - the forehead,
eyebrows, upper lip and chin are all located on the same
imaginary vertical plane
(C) 2012 - Professor Joseph
Finocchiaro

49. FACIAL PROFILE VARIATIONS
• 6 Variations of Facial Profiles - Always classify forehead first
• Convex-Concave
• forehead recedes from eyebrows and the chin protrudes from the
upper lip
(C) 2012 - Professor Joseph
Finocchiaro

50. FACIAL PROFILE VARIATIONS
• Convex-Vertical
• forehead recedes from eyebrows and the chin and upper lip are on
the same vertical plane
• Concave-Convex
• forehead protrudes from eyebrows and the chin recedes from the
upper lip
(C) 2012 - Professor Joseph
Finocchiaro

51. FACIAL PROFILE VARIATIONS
• Concave-Vertical
• forehead protrudes from eyebrows, the chin and upper lip are on the
same vertical plane
(C) 2012 - Professor Joseph
Finocchiaro

52. FACIAL PROFILE VARIATIONS
• Vertical-Convex
• forehead and eyebrows are on same plane and the chin recedes from
the upper lip
• Vertical-Concave
• forehead and eyebrows are on the same plane and the chin protrudes
from the upper lip
(C) 2012 - Professor Joseph
Finocchiaro

53. GEOMETRIC HEADSHAPES
• There are 7 Geometric Headshapes from the Frontal View
• Value of the geometric headshape is to show the lengths
and widths of the human face
(C) 2012 - Professor Joseph
Finocchiaro

54. GEOMETRIC HEADSHAPES
• Bone structure, cartilage, and tissues, in addition to
placement of features, serve to define general
characteristics of each shape.
• Features always coincide with headshapes
(C) 2012 - Professor Joseph
Finocchiaro

55. HEADSHAPES
• Oval
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cranium slightly wider than jaw
jaw line is curved
nose is usually straight and proportional in length
the most common geometric headshape
(C) 2012 - Professor Joseph
Finocchiaro

56. HEADSHAPES
• Round Headshape a.k.a. Infantine headshape
• the jaw line and cranium are round
• the jaw and cranium are very full and convex
(C) 2012 - Professor Joseph
Finocchiaro

57. HEADSHAPES
• Square Headshape a.k.a. Strong headshape
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length is equal to the width
hairline and eyebrows are nearly horizontal
mouth and jaws are wide
angles of the jaw are low and wide
wide forehead
(C) 2012 - Professor Joseph
Finocchiaro

58. HEADSHAPES
• Oblong Headshape
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vertical measurements greatly exceed the transverse measurements
nose is generally long and prominent at the tip
hollow cheeks may be seen
forehead is narrow and high
mouth tends to narrow
(C) 2012 - Professor Joseph
Finocchiaro

59. HEADSHAPES
• Triangular Headshape
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narrow in the forehead, great width between the angles of the jaw
mouth tends to be wide
nose is fleshy and broad
tendency to have heavy jowls
chin is broad and square
least common geometric headshape
(C) 2012 - Professor Joseph
Finocchiaro

60. HEADSHAPES
• Inverted Triangular Headshape a.k.a. Heart Headshape
• great width in the forehead
• narrowness between the angles of the jaw
• mouth is narrow
(C) 2012 - Professor Joseph
Finocchiaro

61. HEADSHAPES
• Diamond Headshape
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medial tapering in both forehead and the jaw line
widest across the zygomatic bones
narrow in width in forehead and jaw
eyes are likely to be well separated
(C) 2012 - Professor Joseph
Finocchiaro