There are a few exceptions to this rule, but it will serve you well to follow it and to know when to break it. Strait lines drawn on either side of the centerline that connect all of the major features of the face, edges and orifices, are all parallel.
This is easily one of the most common mistakes that unseasoned artists make, and a few seasoned ones too, including yours truly. When it is not right, your eye notices it immediately and the drawing or painting looks off. I will give additional tips on the proportions of the face, that are a bit more complex, but this one is an easy rule to follow.
So before you start writing me back about how I am wrong and you are looking at a photo that doesn’t follow the rule, here are a few exceptions.
Exception 1. If someone’s face is so asymmetrical that the features don’t line up in an even structure.
Exception 2. The person is making an expression or pushing on one side of their face that pulls at the softer features and changes the balance of those landmarks.
Exception 3. You are so close, or the photo was taken so close that those lines are in perspective and converge at a vanishing point.
That’s it. Otherwise parallel, parallel, parallel.
I often get asked about how to paint flesh tones. And the truth is that there is no secret recipe. Besides all the variation in complexion of different models and the color of light(s) and shadow, you can have a huge variety of colors in the mix. It’s when you start to assign a formula of premixed colors you end up painting something that looks like a department store mannequin. As you can see from this is example, there’s a full range of colors and values that make up the face in this painting.
So how do you paint flesh tones? You start out by choosing a reference that has a good variety of color and detail with interesting highlights and reflective light. Then the task comes down to looking and being able to mix the colors that you see. With each color you lay down, you ask yourself what is the color next to it. In your brain you may be thinking green or orange, but what you really want is a color shift in that direction in proportion to the shift of color and value in the reference. You don’t want to create more contrast than what you see, just enough to mimic the differences in the reference. When you carefully do this from shape to shape, before long, you have done it.
I am glossing over one very important point. The skill required to match colors through color mixing is one that requires years of practice, and can be one of the toughest skills next to drawing. But like anything else, with hard work and practice, you can do it and it is one of the most satisfying aspects of painting.
More on color mixing at a later date.
Esta obra es especial por varias cosas...os cuento...
Un día escuché una poesía de @alfonsita sentada en mi sofá,una tarde muy femenina, una poesía muy profunda que desgarró mi Alma, no solo porque me sentí muy identificada, sino porque sentí que muchas mujeres de mi tierra sentirían lo mismo...
Mujer en esta tierra árida...no es nada fácil pero...no estamos solas...
Me encantó y mi corazon decidio impregnar esas letras en papel pero con pinceladas suculentas.
Imagine curvas libres, ligereza, sencillez y fuerza a la vez.
-Vega, podría hacer un cuadro de tu poesía?
Y ella me contestó con un abrazo...
Gracias amiga, gracias @alfonsita por ser tan mágica e inteligente y por querer trabajar conmigo en esta obra.
Ahora está obra pertenece a una mujer rural con mucho poder...me encanta la idea de como la esencia se traspasa de esta forma tan sutil e intensa..
Os gustaría leer su poesía?