Creating a harmonious and attractive face and body is one of the most important tasks of aesthetic surgeons. Every day, hundreds of thousands of patients come to the doctors of aesthetic medicine for help with a request to change something in their appearance. Some patients are dissatisfied with the hump on the nose, others do not like the size of the chest or the width of the hips, someone wants to adjust the knees or ears.
There are many reasons for treatment, and surgical intervention is the most effective method of solving them. But every surgeon knows that it is impossible to operate on the same template for everyone, since there is no single correct criteria for an ideal nose or chest. In order to give the patient beauty, but at the same time emphasize his individuality, there is a golden section rule.
Application of the Golden Section Rule in Aesthetic Surgery
The amazing rule of the golden ratio was discovered thousands of years ago by Egyptian priests, and later it was explored and studied in detail by such famous personalities as Pythagoras, Fibonacci and even Leonardo da Vinci. Its essence lies in the fact that if you divide the segment into two unequal parts, then, in order to achieve ideal proportions, its smaller part should be related to the larger one, as the larger one to the entire segment. It was this rule that Leonardo da Vinci was guided by when painting his most famous masterpiece - the portrait of Mona Lisa.
Applying the rule of the golden section in aesthetic surgery of the face and body, the doctor can achieve ideal proportions and the most harmonious and attractive result.
And in order to adapt this rule to the possibilities of the modern world, the so-called “beauty mask” was invented.
Golden section rule:
- creating a "beauty mask" using the golden section rule;
- proportions of an ideal face according to the rule of the golden section;
- the rule of the golden section is the "golden key" for a plastic surgeon.
Creating a "beauty mask" using the golden ratio rule
For many years, the American maxillofacial surgeon Stephen Marquardt corrected facial defects that arose after injuries or existed from birth, but the result did not always satisfy the specialist. The doctor decided, by all means, to derive the formula for the ideal face, and took as a basis the work of Pythagoras, Leonardo da Vinci and the German professor Zeising, devoted to the rule of the golden section.
After lengthy calculations, measurements and analyzes, the doctor managed to find out that the nose in full face and profile forms a triangle, the sides of which in a beautiful face are 1.618 times longer than its base. And this triangle can be transformed into a pentagon that appears on the face during a smile. By combining these geometric shapes on a person's face, taking into account the number of the golden section - 1, 618, the doctor managed to create a "beauty mask". Using this mask, you can "fit" facial features to ideal proportions.
The proportions of the ideal face according to the rule of the golden section
In an ideal human body, the golden section rule works flawlessly. Scientists managed to find out that the number 1.618 is equal to the ratio:
- height of the face to its width;
- mouth width to nose width;
- height of the face to the distance from the tip of the chin to the central point of the junction of the lips;
- the central point of connection of the lips to the base of the nose to the length of the nose;
- width of the nose to the distance between the nostrils;
- the distance between the pupils to the distance between the eyebrows;
- hand length to forearm length;
- the distance from the navel to the crown to the distance from the crown to shoulder level;
- the distance from the floor to the navel to the distance from the navel to the head.
In addition, the researchers found out such interesting facts:
- the distance between the inner corners of the eyes is equal to the length of the eye and the width of the wings of the nose;
- through straight lines from the pupils to the corners of the lips, the face should be divided into three equal vertical sections;
- the same horizontal areas are also the forehead from the lower hairline to the eyebrow line, the middle part of the face from the eyebrows to the tip of the nose, and the lower part of the face from the tip of the nose to the chin.
The rule of the golden section - the "golden key" for a plastic surgeon
Plastic surgeons have long figured out that facial features that many people find ideal, such as Nicole Kidman's even nose or Angelina Jolie's plump lips, may not look equally attractive on any face. That is why patients are far from always satisfied with the result of the operation, which the surgeon could perform just perfectly. Thus, if a patient turns to the doctor with a photo of another celebrity and a request “I want it like hers”, you don’t need to immediately take up the knife. It is much better to first try on a “mask of beauty” on your patient, and for sure find out what sizes, volumes and ratios will be ideal for him.
A beautiful face is a harmonious face in which ideal proportions are observed.
The golden section rule is a "golden key" for a plastic surgeon, which will help, like Leonardo da Vinci, to create truly perfect faces. Read more interesting articles on the website in the "Plastic Surgery" section.
The portrait conveys not only the external characteristics of the face, but also reflects the inner world of a person, his attitude to reality and emotional state at a certain point in time. In fact, a portrait, like any other genre painting, is an arrangement of lines, shapes and colors on canvas or paper so that their final combination repeats the shape of a human face.
Sounds almost like magic? In order to correctly place those very lines, shapes and shades on paper, you must first of all study the proportions of a person’s face (when drawing a portrait, they must be observed without fail) and their dependence on the movements, direction and shape of the head.
What is a portrait?
Regardless of the level of skill, working on it intimidates any artist. The remarkable painter John Singer Sargent gave the portrait two characteristics that every artist would agree on:
- “Every time I paint a portrait, especially on commission, I lose a friend.”
- "A portrait is a painting in which the lips end up looking somehow wrong."
Portrait - one of the most difficult genres of drawing and painting. The reason is that the artist often works to order, and pressure from outside interferes with the creative process. The portrait in the view of the customer often differs from what the artist creates. In addition, working on the image of a human face requires special knowledge and a fair amount of patience.
Why study proportions
Proportions are needed in order to understand how objects are located relative to each other in a dimensional, planar and intermediate ratio. If even a small amount of realism is important for a portrait, this cannot be achieved without knowing the proportions. On the other hand, nobody canceled abstract portraits.
Knowledge of proportions helps to convey not only facial features, but also emotions and facial expressions of a person. Knowing the dependence of the change in appearance on the position of the head, the emotional state of the model and lighting, the artist can transfer the character and mood of a person to the canvas, thereby creating an object of art. But for this you need to know the correct proportions of the face and be able to build a composition in accordance with the rules.
Ideal Proportions
During the High Renaissance, Raphael created paintings that were considered the standard of perfection. In fact, all of today's ideal proportions originate in the oval faces of Raphael's Madonnas.
If you draw a vertical line in the very center of the face and divide it into three parts - from the hairline to the eyebrows, from the eyebrows to the tip of the nose and from the tip of the nose to the chin, then these parts will be equal in an ideal face. The figure below shows the ideal proportions of a human face, a scheme for drawing and building an ideal face oval, as well as the ratio of the main features. It is worth considering that the ideal male face is characterized by more angular features, but, despite this, their main location corresponds to the presented scheme.
Based on this scheme, the ideal proportions of the face when drawing a portrait correspond to the following formula:
- BC=CE=EF.
- AD=DF.
- OR=KL=PK.
face shape
Correctly constructed proportions of a person's face when drawing a portrait depend largely on the shape of this face. Raphael created a perfect oval, and nature does not limit perfection to just one geometric shape.
Probably, it is most convenient to study the construction of proportions and their change during movement on a perfectly oval face, for this there are many ways and techniques that will be discussed below, but the essence of the portrait is not to create an ideal, but to depict a person with all his features and imperfections. That is why it is important to know what the shape of the face can be and how it affects the construction of proportions when drawing portraits.
Rounded faces
elongated face has rounded hairline and chin. The vertical midline of the face is much longer than the horizontal. Elongated faces are usually characterized by a high forehead and a large distance between the upper lip and the base of the nose. Usually the width of the forehead is approximately equal to the width of the cheekbones.
Oval face similar in shape to an egg turned upside down. The cheekbones are the widest part of it, followed by a slightly less wide forehead and a relatively narrow jaw. The length of an oval face is slightly greater than its width.
Round face characterized by almost equal midlines of the vertical and horizontal sections of the face. Wide cheekbones are smoothed out by a smooth rounded chin line.
Angular face shapes
Rectangular face characterized by a wide jaw, accentuated by an angular chin and a straight hairline. The median line of the vertical section is much longer than the horizontal one. The width of the forehead of a person with a rectangular face is approximately equal to the width of the cheekbones.
triangular differs from the heart-shaped only by the hairline, in the triangular it is straight. A characteristic feature of this face shape is high cheekbones and a very narrow, pointed chin, while the cheekbones are almost as wide as the forehead. The vertical section line of a triangular face is usually slightly longer than the horizontal line.
Square shape characteristic of persons with low, wide cheekbones and an angular chin. The length of a square face is equal to its width.
Trapezoidal defined by a wide jaw, low cheekbones and a narrow forehead. Usually on such a face, the chin is angular and wide, and the cheekbones are much wider than the forehead.
diamond shape the face is given a proportionally narrow forehead and chin, the latter usually pointed. The high cheekbones are the widest part of the diamond-shaped face, and its horizontal section is much smaller than the vertical one.
Correct facial structure
The correct construction when drawing a portrait is based on measuring the facial features of the model and the distance between them. Each portrait is individual, just as no two faces are exactly the same, with the exception of twins. The formulas for calculating proportions give only basic tips, following which you can make the drawing process much easier.
To create your own characters or draw faces from memory, it is extremely important to know the correct rendering of proportions. It is important to remember here that the shape of the head is much more complicated than an inverted egg or an oval, and therefore it is worth following the rules to avoid eyes on the forehead or a mouth that is too small.
face outline
First, draw a circle - this will be the widest part of the skull. As you know, the main features of the face take place under the circle. To approximately determine their place, we divide the circle in half vertically and continue the line down so that the lower outline of the circle divides it exactly in half. The bottom of the line will be the chin. From the sides of the circle to the "chin" you need to draw lines that will become the preliminary outlines of the cheekbones and cheeks.
If the portrait is drawn from the model's face or from memory, then you can correct the shape with a few light lines, determine the approximate width of the chin and the hairline. It is worth noting that the hair in the portrait will occupy some part of the circle that was drawn at the very beginning.
Eyes and eyebrows
Draw a horizontal line at the base of the circle, perpendicular to the first. The eyes are on this line. It is on it, not higher, no matter how much you want! The horizontal line must be divided into five equal parts - each of them is equal to the width of the eye. The central part may be slightly wider. The eyes are located on the sides of her. For further calculation of proportions, it is best to indicate where the pupils will be located.
To determine how high above the eyes the eyebrows should be, divide the circle into four equal parts, from bottom to top. Eyebrows will be located along a horizontal line passing directly above the eyes.
Nose and lips
The vertical line of the lower part of the face must be divided in half. Mark the middle where the base of the nose should be. The width of the nose is easy to determine by drawing parallel lines down from the inner corners of the eyes.
The rest - from the nose to the chin - must be divided in half again. The middle line coincides with the line of the mouth, that is, the upper lip is located directly above it, and the lower lip is located below it. The width of the mouth can be calculated by drawing parallel lines down from the middle of the pupils. The width of the chin is usually equal to the width of the nose.
Building the proportions of the human face, described above, is a simplified method and is suitable for ideal faces, which are not so many in nature.
The external appearance of a person The external appearance of a person, that is, his external appearance, is a collection of data perceived visually. Determining in appearance are its elements. They are individual anatomical organs, entire areas of the body, individual parts of the whole, functional manifestations, as well as clothing and other related items. Each element, like any property, is characterized by certain features that individualize the appearance of a person. Quite a lot of such signs of appearance can be distinguished, and even more different combinations of these signs.
Numerous and diverse features of a person's appearance form three main groups of signs: anatomical, functional and concomitant. Anatomical and functional features are considered to be their own and are the main ones in identifying a person. Accompanying - these are indirect signs that characterize the appearance of a person indirectly and contribute to his identification. Anatomical features determine gender, age, height, physique, anthropological features of appearance, structure of the body, head, face and its elements. Of course, special attention is paid to the face of a person as the most individualizing personality in its visual perception. The skin of the face, especially those that are characterized by a closely located bone and cartilage base of the skull, are relatively stable throughout a person’s life, which makes it possible to identify a person whose appearance was recorded even with a significant time interval. Anatomical features include the size, shape, contour, position, color and structural features of individual parts of the face and body.
Functional signs are manifested in the process of human life, characterizing his motor and physiological functions. Functional signs reflect the external manifestation of human activity. Among them, the most pronounced and observable are signs that characterize posture, gait, gestures, facial expressions and speech. Posture is determined by the position of the head in relation to the vertical and torso, as well as the position of the torso in relation to the vertical. Gait is determined mainly by the mutual position of the legs, arms and body at various moments of movement, as well as the pace of walking. Gesticulation is manifested in special hand movements, which are used to increase the expressiveness of speech. Mimicry is set by the movement of the muscles of the face and is a familiar way of expressing a certain state or feeling. Speech functions are characterized by elements of one's own speech and the speech mechanism. They manifest themselves in language, dialect and accent. Human behavior manifests itself outwardly in various habits and manners and is expressed in the features of performing certain actions, for example, in the manner of greeting others, smoothing hair, laughing, putting out a cigarette butt, holding a cigarette, etc. Functional signs are easier to change, but among them there may be quite stable, due to the peculiarities of the anatomical structure (for example, lameness as a result of a shortened leg), diseases, etc.
Displays of the external appearance of a person Displays of the external appearance of a person, used in forensic science, are usually divided into subjective and objective. Subjective displays arise as a result of direct visual perception of a person or his remains by another person. An objective display of a person's external appearance is his display on photographs, films, x-rays, in traces, his video image, etc.
Plastic points of the face An objective display of the external appearance of a person is its display on photographs, films, x-rays, in traces, its video image, etc.
Dots on the skin are not only able to signal diseases or pathologies, but also improve the appearance. Oriental beauties have used these secrets for centuries to prolong their youth. Nowadays, few people use these techniques. But in vain. Acupuncture points, with the right stimulation, give results no worse than beauty treatments. However, they are available and free.
There are defining points on the face that plastic surgeons need to consider when performing rhinoplasty, as they help to design the optimal nose shape in terms of proportions. Such points on the face are as follows: gnasion (gnasion) - the lower middle point of the protruding part of the chin; menton (menton) - the most prominent point on the lower edge of the chin; nasion (nasion) - a point on the face in the center between the nasal and frontal bones; pogonion (pogonion) - a point on the face in the center of the most protruding part of the chin; rinion (rhinion) - a point on the back of the nose, where the cartilage of the nasal septum, nasal bones and triangular cartilages touch each other; sellion (sellion) - a deep point on the face in the recess between the glabella and the back of the nose; subnasal point - a point on the face, located under the anterior nasal spine, which is the top of the nasolabial angle.
With regular study of these points with essential oils, it is really possible to prolong youth and improve health at home.
The concept of beauty and beauty is very subjective, the debate about these philosophical categories has not stopped since ancient times, and it is unlikely that it will be possible to summarize the entire baggage of knowledge about beauty accumulated by world civilization in a nutshell. But it is probably possible to try to understand this, based on the experience of past generations.
After all, there are fairly simple techniques and techniques that allow a specialist working in the field of aesthetic medicine to make the face of his patient more harmonious, and not disfigure it ...
What meaning do we put into words like “beautiful”, “sublime”, “beautiful”, “cute”? We use these adjectives most often to describe what we like. And in this sense, “beautiful” seems to us equivalent to “good”, “kind”.
However, often in everyday life we call beautiful not only what we like, but rather what we want to get. There are so many good things around: this is shared love, and righteous wealth, and delicious food. And we want to have this good! Even when we call a virtuous deed good, it means that we ourselves are not averse to doing it or in the future we will try to do something just as laudable, inspired by the example of what seems good to us.
We also call good what corresponds to some ideal principle, but causes pain, for example, the heroic death of a warrior, the dedication of a person caring for a leper, the self-sacrifice of a parent who saves a child at the cost of his own life ... In these cases, we call the deed good, but out of selfishness or cowardice, we prefer not to deal with such situations. We recognize that we are talking about good, but someone else's good, we look at it somewhat aloof, although sympathetically, and we do not have a desire to possess this “good”. And this detachment, when we enjoy something regardless of the fact of possession, just indicates that we are talking about beauty or an ideal.
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IN SEARCH OF ABSOLUTE HARMONY
Science begins where measurements begin, said Dmitri Ivanovich Mendeleev. Many generations of scientists, philosophers, mathematicians have been searching for absolute truth, absolute beauty, which they understood as a kind of universal standard, comparing with which any object or phenomenon from the surrounding world, it was possible to determine the degree of their compliance with some higher ideal.
Pythagoras, an ancient Greek philosopher who lived in the 6th century BC, is considered the initiator of such searches. It was he who first came to the conclusion that it is more convenient and faster to investigate any objects when the human mind does not deal with the objects themselves, but only with their properties expressed using numbers and other mathematical symbols, ordered in the form of appropriate formulas.
It was he who introduced the concept of harmony into the everyday life of mankind, by which he designated the ratio of parts and the whole, that is, mathematical proportion.
Leonardo da Vinci - being an unsurpassed painter and at the same time a talented mathematician and engineer, Leonardo became interested in the ratio of individual parts of the human body and noticed that many of them are very close to the ratio of harmoniously divided segments.
The fact that the closer the proportions of a person’s figure and face to the cherished number “phi”, the more beautiful this person is considered, did not escape the artist’s trained eye. It was those women whose bodies obeyed this divine principle that were recognized as unsurpassed beauties. This greatest discovery of Leonardo da Vinci began to be widely used in his work. Now he did not need to look for "hand-written beauties" in the city and, seducing them with all sorts of promises, to persuade them to become models for his future paintings. It was enough to draw any woman, and then, having made the necessary mathematical calculations, correct the drawing, bringing the proportions of her figure and face closer to the golden ratio, and an ordinary market woman turned into a perfect madonna! His contemporary Luca Paccoli called this ratio the divine proportion. “Here it is - a tangible and absolutely accurate, mathematically expressed measure of beauty! Here it is - the divine standard of beauty, or the rule of the golden section!
The portrait of Mona Lisa (La Gioconda) corrected in this way is still considered an unsurpassed masterpiece of the golden fund of world painting in our time. Now we can assume, not without reason, that the solution to the notorious "Gioconda's smile" should be sought not so much in mysticism as in mathematics. Thus, the mathematical standard of harmony and the artistic standard of beauty merged into a single whole - the golden ratio, which turned out to be a symbolic expression of that universal truth, which made it possible to appreciate the harmony and beauty of all objects of the surrounding world.
In nature, we constantly notice that the ratio of parts (greater to smaller) is always equal to the number "phi": the length of the lizard's tail to the length of its body, the ratio of the whorls of the shell, the distance of the divergent circles of water from the falling drop, etc.
Think about why we are so fascinated by ancient monuments of architecture - temples, cathedrals, castles? Perhaps it is precisely because classical proportions were observed during their construction, thanks to which these buildings still amaze us with their harmony.
Although even now, if we look closely, we will notice that many of the objects that surround us are based on the rules of the golden section. And even, it would seem, an ordinary bank credit card was created on the principle of a golden rectangle.
According to the principles of the golden section, the pentagram is also built - one of the most used religious symbols, which was common among many peoples, cultures, communities. This sign was a symbol of magicians, secret societies, it served as a talisman and a seal. Probably, none of the existing symbols can be compared with the pentagram in terms of the number and inconsistency of interpretations, and also boast such a rich history.
Pentagram is a five-pointed star inscribed in a circle.
The golden ratio is also used in fashion - the ratio of the length of the jacket to the length of the skirt, the ratio of the length of the sleeve to the length of the jacket. Of course, not all designers observe these proportions, but, nevertheless, things designed according to the principle of the golden section seem to us more harmonious.
There was an attempt to apply the golden ratio in aesthetic medicine. Stephen Marquardt calculated the pentagram of aesthetically attractive faces, from antiquity to the beauties of our days, and came to the conclusion that all faces that were considered and are considered beautiful (no matter European, Asian or African type), when applying specifically calculated pentagrams, obey the rules of the golden sections. That is, even despite the fact that we are all individual and each of us has our own characteristics, any face can be made more harmonious if these features are calculated and the ratio of pentagrams is brought closer to the golden ratio.
MATHEMATICAL CALCULATION OF THE PROPORTIONS OF A HARMONIOUS FACE
Even Leonardo at one time developed the so-called golden ruler. The ratio of the sides of this ruler (a larger segment to a smaller one) is equal to the very number "phi" - 1.618. Using this tool, it is enough to attach any of its segments to the face - and you immediately get a second height or a second length.
We must understand that every person is different.
Unfortunately, we often meet the neglect of the principles of the golden section in everyday life, which is why it is sometimes so sad to observe the results of the work of cosmetologists and plastic surgeons. Today, a specialist must know all injection techniques and be able to master them, must know where and how much to inject, and also take care of the quality of the drug, because with his creative work he creates beauty and harmony!
Of course, beauty and harmony cannot be formally reduced to simple lines and numbers. Even a face that does not have ideal proportions always has a certain artistic element, which gives charm to the appearance.
Patients do not always adequately assess their face and sometimes ask to change something in their appearance, which in fact does not need to be changed. Therefore, a competent specialist should be able to reach out to the patient, offer and justify his decision, and, together with the patient, come to a joint algorithm for conducting procedures.
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Topic: Proportional features and plastic points of a human face. Lecturer: Umrikhin S.V.
Introduction: In this presentation, we will look at the proportions and plastic points of the face. The human face is formed by the skull, cartilage, fat and muscle tissue, now we will consider this in more detail.
Skull: The skull defines the shape of the head, eyebrows, cheekbones, lower jaw. People are built the same, but still very different. This is achieved due to rather small variations, which, nevertheless, the human brain grasps instantly.
Muscles of the head and face: The muscles create relief, they can also move and deform the face, conveying not only the fact that the character is speaking, but more importantly, conveying emotions, that is, even for static, the probability of deforming a neutral facial expression is very high.
Mimic muscles: Their specificity lies in the fact that they are attached at one end to the bones, and at the other - to the skin or other muscles. Each muscle is clothed in fascia - a connective sheath (thin capsule) that all muscles have.
Mimic muscles are divided: Muscles of the cranial vault: Supracranial muscle; transverse nuchal muscle; Anterior ear muscle; Upper ear muscle; posterior ear muscle; Muscles of the circumference of the eye: Muscle wrinkling the eyebrow; Muscle of the proud; Circular muscle of the eye; Circular muscle of the mouth; Muscular system of the nose: Nasal muscle: alar part, transverse part; Muscle that lowers the nasal septum; Muscle that lifts the upper lip and wing of the nose; Muscles of the cheekbones: Large zygomatic muscle; Small zygomatic muscle; Cheek muscle; Muscle that lowers the corner of the mouth (triangular muscle); Muscle that lowers the lower lip; The muscle that raises the upper lip; Chin muscle.
Proportions of a person's face: People's faces are very different, but there are generally accepted norms by which we determine the proportionality of a person's face: Proportions: 1 - the distances from the edge of the hair to the eyebrows, from the eyebrows to the tip of the nose and from the tip of the nose to the chin are equal; 2 - the eyes are exactly in the middle of the skull; 3 - the width of the wings of the nose is equal to the width of the eye and is also equal to the distance between the eyes, or the wings of the nose end where the eyes begin. (this is the distance from the eyes to the edge of the face, that is, the width of the face consists of 5 eyes); 4 - the angle of the eyebrow, the corner of the eye and the tip of the wing of the nose are on the same line; 5 - the corner of the mouth ends where the iris begins (or in the center of the eyes); 6 - eyes and mouth are located in thirds of the main segments (hair lines, eyebrows, nose tip, chin); 7 - the ears are equal in size and position to the nose (inscribed in the second main segment) (or the upper edge is slightly lower); 8 - the edge of the lower lip in the middle of the main segment.
