The page discusses methods for drawing human head proportions, focusing on lines of operation and geometrical constructions. It explains using vertical lines to determine the inclination and alignment of facial features, specifically addressing how to proportion the face into equal parts. Additionally, it describes calculating the width of shoulders and their height relative to the neck, ensuring symmetrical representation in drawings.
determined. We still compare the distance from the point represented by C to the chin, with the height of the head. Here, CD equals two-fifths of CB: thus, on the drawing we take two-fifths of the height represented by cb (fig. 6), and we have the points represented by a, c, d, b.
Now, we need to find the inclination or movement of the head. We always suppose a line that divides the face into two equal parts, such as the line DGF (fig. 7). We call this the line of operation, usually imagined from the base of the face to three-quarters of the head's height. Here is how to find this line's inclination. Hold the pen vertically; and move it until it seems to touch the lower end of the operational line. At the same time, observe how much this vertical seems to deviate from the upper end of the line. Here (fig. 7), ac represents the pen held vertically, and ab represents the operational line. You see the pen (or plumb line) simultaneously touching the lower end of line ab, seeming to move away from the top end. Compare the distance between the point represented by e and the point represented by b, with the head's height. Here, the distance eb is roughly one-fifth of the head's height. On paper, from the point determining the bottom of the face, or point represented here by a, erect a vertical line; then, towards three-quarters, take to the right from point c a distance represented by cb, equal to one-fifth the height of the head. Then, draw an oblique line from e to b. This line will be the line of operation. This line can also be found holding the pen vertically, so it seems to touch the upper end of the line. You then observe how much it seems to move away from the lower end, comparing the space between points represented here a, d, with the head's height, as in the first operation, with the same result.
Returning to fig. 6. With the vertical represented by db, find the operational line's inclination represented by de. With the movement, and having settled the bust's different dimensions in height, we seek the widths. Compare the widest part of the head, taken around three-quarters of its height, with the head's height. Here (fig. 5), EF equals three-quarters of DB. On the drawing, take a dimension represented by cf, equal to three-quarters of the head's height represented here (fig. 6) by db, and report it in width, putting half the width on one side of the line represented by ag, half on the other; because the face's sides should be perfectly similar. Then, draw the oval, passing it under the strokes represented here e, d, i, b. Compare the mouth's width to the head's height (fig. 5), HK equals half of DB, the head's height. On paper, take half of the height represented by db, report it in width under the mouth, to one part on one side of line dg, another part on the other.
Finally, find the width of the shoulders and their position, by holding the pen vertically, such that it seems to touch the right shoulder, for example. Observe at the same time how much this vertical deviates from the head, and repeat the operation on the other side; see how much the shoulders are wider than the head. Again mark, on the pen, the entire width represented by LM, with the total height. Then, hold the pen horizontally (see plate 3, fig. 9). You see the height where the shoulder attaches to the neck. Here this point is represented by H, and the other point, represented by K, is found similarly. By the same operation, note how much lower the shoulder ends are than the place they attach, that is, how much H is lower than H, and M lower than G (These dimensions are found, draw the shoulders and chest, passing through points l, m, n (fig. 6).
Now, the foot remains. After comparing its width to its height; using plumb lines assumed elevated from either side of the foot, it's found here (fig. 3) that N is exactly below point E, while point O is under the ear, a bit outside the neck. On the drawing, from the point, represented by e, drop a vertical giving point n. From point k, taken outside the neck,
Translation Notes:
- "ligne d'opération" translates to "line of operation," referring to a guideline for proportions.
- "aplomb" means "plumb line" or "vertical line", used to ensure straightness or alignment.
- Points, dimensions, and proportions are heavily referenced, indicating the methodical steps in artistic measurement and proportioning.