Byzantine Iconography: Drawing the Face 2: Dynamic Frontal Pose with Curved Axes | Julia Hayes | Skillshare

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Byzantine Iconography: Drawing the Face 2: Dynamic Frontal Pose with Curved Axes

teacher avatar Julia Hayes, Byzantine Iconography Tutorials

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

4 Lessons (33m)
    • 1. 2.1 Introduction

    • 2. 2.2 Drawing a Young Face (St George)

    • 3. 2.3 Drawing a Woman's Face

    • 4. 2.4 Drawing the Face of Christ

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About This Class

In this tutorial we will study drawing the face in the dynamic frontal pose on curved axes. We will study three different faces; a young face, a woman's face and the face of Christ.

This class is a continuation of the class "Drawing the Face 1: Introduction to Line, Rhythm and drawing the Face" so it is recommended that you complete that class first. 


Meet Your Teacher

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Julia Hayes

Byzantine Iconography Tutorials


Hello, I'm Julia. I'm a South African born byzantine iconographer with 16 years experience. I live and studied iconography in Greece with teachers including master iconographer George Kordis. I have also studied Theology and done post-graduate studies in Liturgics at the University of Athens.

So what are these iconography tutorials about?

This is not a standard weekend iconography workshop where you simply learn to  trace an icon and "paint-by-numbers". It was never the tradition of the Church to make "photocopies" of old icons, but sadly this modern "tradition" is destroying the creative tradition of the Church. Every period of iconography from the Comnene to the Paleologian periods to the Cretan School has it's own style within the Byzantine system of painting ... See full profile

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1. 2.1 Introduction: is way. In this tutorial. We're going to be looking at another version of a dynamic frontal powers that is more dynamic and creates a greater sense of movement because the face is drawn on curved exits. This technique was used extensively during the Paleo Logan period, especially the works of the mass of rhythm. It's very important for us to study the works of the master's life Francelino, in order to understand how they used rhythm and how we can apply to our own work. If we started the icons of the commune and barely Logan periods and the creaking school, we can see the same logic of rhythm of a Byzantine system, even though the styles of each period differed dramatically. It's important to remember, however, that just because an iPhone is old and Byzantine doesn't make it good. So make sure you study the masters and not just any old icon I will provide some samples for study in the PdF in this tutorial will draw three different faces to get a feel for how this dynamic from propose works. Let's get to it 2. 2.2 Drawing a Young Face (St George): As always, we start with excess line and we do our level and the men will be a slightly wider on this side. There's no sign way divided into three. We had a motor section to the top, and in this case will Will will do a simple icon off ST George. Last time we did side ventures. But here is another simple face. Get the painting. Let's mm again, behave will be wide on the side box. McCann right of the west of a symmetrical level. And now what makes this dynamic pose different is that we draw a curved access talk from the center of the access line coming out your vision. We also draw curved axes that start like this and come out from the center line from the top off the face that I put and from the bottom half of the face they moved after college. Now, when we go the nose, we're gonna let it follow movement off the Kurt excess. This helps give the same stuff. The face is moving in this direction, but now you can see when I drove the nose, there's a movement in the direction off this excess line. it comes over here and on this side. Everything on this side of the face is wine And this side I'm route is going to be moving again in the direction Although they could access line Where is this one really normal? I want to come on Someone could Xers were they fought 1/4 of the way Diamond Motors and a nihilist nostrils are here I mean no shame Remember this side of the wider And here they are also former This excess that moves upward. I remember the faces moving in this direction but we want the eyes The guys to be moving in this direction create the sense of movement. So we draw the iris, Stop it to the side Then the mountains of shade fools halfway between the nose and the chin And in the bottom left bottom age of the lower lip will be hopefully and again here We're gonna follow the movement off the coast nexus line on the side of face. I'm a dramatic movement, just a slight movement. But it does my difference Now we're doing drinks and George because he has curly hair. We want you all these years, but I have the bottom is here with the bottom off the nose. Yeah, okay. The naked said on the broader side comes down from Yeah, and on the other side from the corner of the eyes Now drop curly hair. The hand. Usually I want to start from the top of the for it. But we'll come approximately halfway between the part the eyebrows approximately on this line here. And when we dropped calls, we make a spiral movement. Normally you should do it with your your pencil. It's a 90 degree angle to the paper. But if I do it here, you want to see what I'm doing and we make spiral curls. You get better accuracy if you don't with your pencil in 90 degree angle. So we will give a basic are the way we want the pain to come. I never said wait. When we're doing the afternoon of Haze, we don't do this. You don't move my black. This creates a sense of rhythm and flow. No, this files. Okay, Coming, coach. - And they have a basic place of ST George in a letter from others with curved exes 3. 2.3 Drawing a Woman's Face: No. Look at a basic woman's face. And again, we're gonna stop excess nine. And, uh, - I'm gonna draw a curved access. Yes. And we're gonna stop now. Usually in iPhones a woman knows will be slightly narrower. And finally, when we're drawing main, right? So former could the exit access and the movement of face to the leg and get that movement of the base of the most following their access narrow. Can you sign that? I was gonna What were the excess upwards? Actually, I can. We're gonna Doctor could access again . The eyes are gonna be looking in the opposite direction. No, on the woman's face. We're not going to see the whole year. We're just gonna have at the bottom the level of ours. I'm gonna take it around ways you in the head covering, and I'll come to you approximately halfway between the eyebrows and the top of the fire. And when he's trying to keep this the line over here in harmony with the on Rose and you can see because of the ex movie up, there's a slight movement upwards over here for thanks. Draw a line. Gives him idea where the flesh times will come from the now in a woman's Facebook will normally draw the next likely narrower on a mains face. But not you know, that it doesn't support the head. I mean, we have a head cover hit coming here comes just below the years. What's that? A vitamin foreign? That's important practice drawing lines like this curved lines for doing the metaphor in, - Yeah , Do you want it? It's very important that we dry excess line, whether doing 1/2 figure or full legal face so that we can keep our ST up. We're just like the off center because even though it's wide on this side, a lot of people have a habit of thinking are This is the same time we'll build a declaration over here. But the decoration that shows where the center is must come over here. And another thing you often see on the head covering IHS lines, and they're not by chance, they're not simply decoration. They help create rhythm by creating transfers lines, and it might slightly curved, create the sense plasticity, and I could see that that creates transpose lines and there we have a basic woman's face 4. 2.4 Drawing the Face of Christ: the third place we're gonna draw is the face of Christ. So again, as usual, we start off with access line. Oh, one on the right side of the tree access. And we start with others. Of course, you can actually see his whole mouth. I like a lot of times with it. Almost our shoes and all the faces. The beard on the cover. Now, of course, you don't see the whole year. So just six, you know, store Christ started always split into two. On this, people come on. The access line. There are various ways of doing. Here is my start. But this is the simplest way to stop left. Remember, the next starts from behind? Yes. It'll come out from behind the moustache from the are Hey, hey, You just transfer lines, okay? And it's precisely that's really helps Troll the eyes of your into the face. No reason. Actually, during a process cage, like on your years compass start to draw the headline. And because the camp campus forms a perfect circle that wants it's very important to make sure that the hair is in harmony with that was a circle created by the compass otherwise it's that creates a distraction. Obviously, if we're doing that sketch for painting icon, I will be during these lands off letters, in Greek or on being honest. I am. One of the important effects of the dynamic frontal pose on the Codex is will be seen. When we started painting these cycles and color, the Kirk, Texas give the impression of projecting the light of the right, which balances the faces movement to the left. Those projections also bring the figure off the painting surface and into the same time in space as a viewer, thus bringing them into relationship. That's all for this time. So you in the next tutorial way, yeah.