How to Design Face in Miniature Painting?

In this article we familiarize you with face drawing in miniature painting art and also you will learn how to do construction and Pardaz on face.

Step 1: Familiarity With Miniature Art

To familiarize with miniature painting art and to understand a preface of this art please refers to this article.

Also to learn how to design and create cloud and tree in miniature painting please refer tothis article.

To learn combination of watercolor and gouache in miniature painting please refer to this article.

And if you want to learn more about doing construction and Pardaz in miniature painting please refer tothis article.

For more information and access to the instructional videos of the miniature art, refer to our website with more than four hours video tutorials totally free.

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Step 2: Reminding the Primary Principles of the Face Drawing

I explain face drawing briefly, because those who choose this major of art should pass basic drawing, then you can draw face and for reminding I explain distances for you. One important point in miniature is that you should know real kind of face drawing and you could turn it to the miniature forms. The total form of a face is like a reverse egg. (Figure 1)

Try to move your hand revolving on the paper. We have an axis in the middle that divided the face in two parts. Also there is one vertical and one horizontal axis. Our horizontal axis divided the face in two parts. The middle line is the eyes, which eyes located in this part and by a little distance, the eyebrow line. (Figure 2)

From the eyebrow to the chin divided to two parts and shaped the nose line. From the nose line to the chin line divided to three parts. And the second line is the lip line. (Figure 3)

The ear began from the eyebrow line and is located by little distance from the nose line at the end of ear. General forms in the face like above forms. But the face with three quarter uses in miniature very much. The angle you watch now is full face because of divisions we did. (Figure 4)

99% of the face angles painted in miniature have face three quarter and they use rarely profile or full face. The face three quarter has the same distances that I told you before. This face didn’t change too much, just the middle axis come more beside. One part of the face will be perspective and the other part will show totally. That was a reminding of face drawing. Each piece in face three quarter angles in miniature shows in this way. Be careful about the natural eyes and its real forms. (Figure 5)

This is because of the changes that will arrive in miniature forms. Look at this form of the eye will show in miniature in this way. The upper line will curve more and end of the eye will be more tallness. Just like this. (Figure 6)

If we have male face, the amount of the stress and emphasis is enough but if we have female face at the end of the eye we have more stress and emphasis. More stretch and more stress on the upper line of the eye and the down line of the eye less stretches. Look how differences are between this one and that one. (Figure 7)

So, before drawing face in miniature, pass basic face drawing courses. But we draw the nose from the eyebrow a right line that will incline. Check out the nose pit. If the head turn more, the left pit is appeared. If not, just the right pit is totally appeared. (Figure 8)

The middle axis that divided the face in two parts, pass through the lips and the nose. Again for lips you see that the left part is shown less than the right. (Figure 9)

We have stress and emphasis on the line in the middle of the lips and the line under it. These are the face parts in face three quarter that I explained. (Figure 10)

Note that we didn’t have face instruction in miniature debate because you need to draw real form and we explain just the forms that turned to miniature.

Step 3: Face Drawing

Briefly explained discussions about the face are In order to draw the faces in this work. The prior points about face drawing perform in this part. These are our divisions. We use etude pencil. (Figure 11)

Well, the stresses and emphasis about the face in miniature causes beauty in the face and made it elegant. The first stress is on upper line of the eye. Try to highlight the upper line against the bottom line of the eye. The second stress is on nose pit and the third one is on lips middle line. We have much stress and emphasis on this line. (Figure 12)

The significant point in drawing a man or women face is drawing hair lines. If it is man the beard and eyebrows and if it is women drawing hair causes more beauty in the face. For better hair drawing you need to draw elegant and regular line that come besides each other. See if this is a lip line, the beard will begin from this part. (Figure 13)

These elegant lines will locate besides each other. If one line changed, the others follow it. In this way they change altogether. Take care that the form is the same. But the darkness and the brightness are different. In some parts like lips or its ends have more stresses. This form will also perform the same by hair brush. In the next step I perform this form by hair brush. (Figure 14)

In continue I instruct you face making by color. (Figure 15)

In this part I just instruct you hair drawing by hair brush and familiarize you with stress on the face for hair drawing. Attempt to hold hair brush loosely. These are the same lines I draw by pencil and there is no difference between them. The end of the hair brush will release. (Figure 16)

When it turned to one forms, other forms follow it. If you look at the hair that are drawn in this picture carefully, you see that dark lines place besides each other elegantly and some stresses at the end of the beard. (Figure 17)

Look carefully at the corner of the lips. The line upper eye is more richly colored and the lines lower eye is fainter. These are the stresses and emphasis that I explained in drawing by pencil. Also the line between the lips has some stress. All emphasis will instruct you by color.

Step 4: Construction and Pardaz on the Face

Well in this step we instruct pardaz on the face. Before starting Pardaz on the face, you should take account of very important point: There are many color use in the face and which color and where they are used depends on the style and taste of the people. So it is a tasty subject. For working by different colors in the face you need enough experience and skill. (Figure 18)

The under color in the face follow this subject and for under color in miniature we can draw young people by bright color and old one with more dark colors. Well, for the face which I am working on it, I use white color. (Figure 19)

The amount of principle color is used for the face causes the brightness or darkness of the face. Principle colors in this work are white, mustard, and red. You can also add brown or not. It depends on the character you want to work on it. Remember the subject in prior article I explained in gouache, when you make a color when it dried it would be darker. Also you can test it on a paper or pasteboard before use it on the main drawing and wait to dry the paper, after you enjoy the result, start to paint the main drawing. (Figure 20)

I work with the smaller hair brush. When our color is dried and we understood that this color is the color which we need, we start to coloring. We paint and wait to dry it. After it will be dried, we start pardaz. We start work on the face by hair brush. After under color you can work on the pencil drawing of the face very faintly till your under color didn’t destroy. With a faint color we define parts of the face. We do it this part very faintly. (Figure 21)

Do not concentrate on one parts of the face and work on different parts at the same time and do Pardaz for all parts of the face equally. After you defined the principle form, we strong colors by darker colors. At the end by faint red color we do pardaz. (Figure 22)

We make our color darker one degree. The other point for working on the face is very important which you should take account of it, working step by step and strong the colors of the parts of face slowly. For making our color darker one degree, I will add a little blue and brown. We perform the same stresses that we had on face drawing part. We do the same stresses by colors here. More stresses on lips sides and the line between the lips. (Figure 23)

For beard drawing, the hair instruction that I told you before in previous steps, is very important here. We establish very elegant lines besides each other. The hair forms should be nice and it is very important. I will add dark-blue to the brown and it becomes one degree darker. (Figure 24)

Take care that the upper line of the eye should be richly color. This causes attractiveness of the face. The red color you use for the lips should not be strong and it should be a beautiful and mellow color. In the down parts of the chin we have stress. (Figure 25)

If you remember the drawing debate of beard and hair, I told at the end of beard and under parts of the lips that hair start to grow, we have more emphasis. The other significant point I should refer to here, is that you can perform these forms which I perform in the beard with Pardaz. (Figure 26)

The more you strong yourself in drawing parts of the face, the more successful you are in pardaz. r self in drawing parts of the face, the more succesful grow, we have more emphasis. the If the drawing of the face was not correct, as much as the pardaz will be well, your face doesn’t have any attraction again. I take orange and a little brown and start to shadow on the face. Like the shadows behind the eyes. (Figure 27)

These shadows make linear pardaz. We do it in place of growing beard, on the left chin and down part of the eyes. If you like you can show wrinkles upper eyebrows on the forehead. It depends on your characterizing. I show the stresses between two eyebrows. (Figure 28)

I made my color darker one degree again. I combine a little red with brown. We have ear forms and behind the neck which I have to draw them again here. I define the hat line to show the face more. (Figure 29)

At the end I work on the pupil inside the eye. By a little blue and brown, I establish the darkness inside the eye. (Figure 30)

I stress on the darkness inside the eye. I cover upper side of the eye by brown line. I do a little pardaz under throat and a little stress on the wrinkles up the forehead. (Figure 31)

At the end I do the ornaments of the hat. In this way, we color the hat. (Figure 32)

Now we learned the face instruction.