Features in focus: Noses

Focusing in on features, we’ll look at the handle of the face. This month: the nose. As well as being an important structural feature with a little expressive potential, the nose tells us a lot about how the head of our model is turned and tilted: tilts back reveal more of the nostrils underneath, which are eclipsed by the esh of the nose in tilts forward. The symmetry of the eshy ala of the nostrils and the amount of cheek showing on either side of the nose will indicate how much the head is turned to the left or right.

SIMPLE SHAPES

Building upon the earlier limits, establish the big shapes of the nose using an oval to accommodate the outer curves of both nostrils and a circle for the tip of the nose. The central ridge of the nose – flatter, sharper or smoother on different models – connects the bridge of the nose to the tip, while the planes at the side rise up from the cheeks with a subtlety that is often difficult to clearly delineate.

CONTOUR

The hints of likeness implicit within the shape of the nose reside in its contours. In profile the hard edge of the outline of the nose is particularly characterful, while the nose seen from the front is defined by the shape of the nostrils; in three-quarters, both elements play a role.

◂ LIMITS

The nose starts between the eyes – we often draw it too long because we imagine that it starts below the eyes. Jot in the width of the bridge of the nose as it rises between the tear ducts to establish a reliable starting point. For the underside of the nose, imagine a ‘tray’ that encompasses the overall width nostrils.

◂ TONE

Finally, the tone will help you to sculpt the forms of the nose. When lit from above light catches the ridge and tip of the nose, creating bright highlights that are easily picked out in white. The nostrils – a hole into the face – form two dark caves and the shadows of the rest of the nose sit somewhere between these extremes of light and dark. ▫