Facial Structure for Oil Painters

In my second year at the School of Fine Arts, we started focusing on portraits — drawing them at night, painting in the mornings, and studying anatomy in the afternoons. It was all synchronized to help us get the most out of our training.

I remember trying to memorize every bone and muscle in the face. Don’t do that — I wasted so much time. I wish I had spent that time drawing the bones and muscles instead of trying to recall their names, which I still don’t remember.

Don’t worry about understanding the bone or muscle structure at first — just draw them.
The more you draw the skull, the more you’ll begin to see the bone structure beneath the skin. Drawing is like reading: the more you revisit the same book, the more you understand and remember.

Capturing the human face is one of the most challenging — and rewarding — artistic pursuits.

To achieve true realism—or even expressive stylization—you must understand both the geometric planes of the face it means simplified the face into planes and the underlying anatomy that shapes them.

Visit: https://www.rensoart.com/mastering-planes-of-the-face-a-complete-guide-to-painting-portraits-with-depth/

Part 1: The Planes of the Face – Simplifying Complexity

Before diving into anatomy, painters must first grasp the major planes that define facial structure. These planes act as a roadmap for light and shadow, helping artists render form convincingly.

Key Facial Planes in Oil Painting

Forehead Plane – A broad, slightly rounded surface that transitions into the temples. The supraorbital ridge (brow bone) marks a subtle shift in plane.
Orbital Planes (Eye Sockets) – Deep-set, concave areas that influence how light wraps around the eyes.
Nasal Planes – The nose is not a single shape but a series of angular shifts:

The bridge (frontal plane)
The sides (descending into the cheeks)
The tip and nostrils (with subtle curvature)

Zygomatic (Cheekbone) Planes – The most prominent forward-facing planes, affecting how light catches the face.
Maxillary & Mandibular Planes – The upper and lower jaw define the structure around the mouth and chin.
Chin Plane – A protruding form with subtle curves, often overlooked in beginner studies.

Painter’s Tip: When blocking in a portrait, start by massing in these planes with a mid-tone underpainting (such as burnt umber or raw umber). This establishes the foundational light logic before adding color.

Part 2: The Anatomy Beneath – Why It Matters for Oil Painters

The planes don’t exist in isolation—they are shaped by bones, muscles, and fat. Understanding these structures allows for more convincing rendering, especially in subtle transitions and aging faces.

1. Bony Landmarks Every Painter Should Know

Frontal Bone – Dictates forehead curvature.
Zygomatic Arch – The cheekbone’s prominence affects the face’s width and light reflection.
Nasal Bones – Determine the nose’s angle and bridge structure.
Maxilla (Upper Jaw) – Supports the nasal base and upper teeth.
Mandible (Lower Jaw) – Defines the chin and jawline sharpness.

Painter’s Insight: In older faces, bone resorption (loss of bone mass) causes the jawline to recede, altering the planes dramatically.

2. Muscles That Shape Expression & Form

Facial muscles stretch, compress, and fold the skin, creating dynamic forms. Key muscles for painters:

Orbicularis Oculi – Wraps around the eyes, creating folds in laughter or squinting.
Zygomaticus Major & Minor – Pull the mouth into a smile, stretching the cheeks.
Corrugator Supercilii – Creates frown lines between the brows.
Masseter – A thick muscle that bulges when clenching the jaw.
Mentalis – Puckers the chin (seen in doubt or tension).

Painter’s Tip: When painting expressions, observe how muscles pull the skin and create shadows (e.g., nasolabial folds in a smile).

3. Fat Pads & How They Affect Light

Fat distribution varies by age, gender, and genetics, influencing softness and shadow:

Buccal Fat Pad – Gives youthful roundness to cheeks.
Nasolabial Fat – Creates the “smile lines” that deepen with age.
Submental Fat – Softens the jawline (important for rendering realism in portraits).

Painter’s Insight: In older faces, fat loss leads to hollower cheeks and sharper transitions between planes.

Part 3: Applying Planes & Anatomy in Oil Painting

Step 1: Structural Sketching (Grisaille or Imprimatura)

Start with a toned ground (e.g., a warm gray or burnt sienna wash).
Use a brush or charcoal to map the skull structure before adding planes.
Indicate major shadow blocks where planes turn away from light.

Step 2: Blocking in Planes with Limited Palette

Use a monochromatic underpainting (raw umber + white) to establish values.
Keep edges softer in fleshy areas (cheeks, lips) and sharper on bone (brow, jawline).

Step 3: Layering Flesh Tones with Anatomical Awareness

Youthful Skin: Subtle transitions, softer edges, warmer highlights.
Aged Skin: More pronounced planes, sharper shadows, cooler undertones in recesses.
Gender Differences: Male faces often have more angular planes, while female faces retain softer fat distribution.

Step 4: Final Refinement – Bringing Life to the Portrait

Add subsurface scattering (thin layers of translucent reds/ochres) for realistic skin.
Use broken color (impasto in highlights, glazes in shadows) for depth.
Sharpest details (eyes, lips) should align with anatomical landmarks.

Conclusion: The Painter’s Journey into Facial Mastery

Great portraitists—from Rembrandt to Sargent—knew that light follows anatomy. By studying both the planes and the structures beneath, oil painters can move beyond superficial representation into true realism and expressive depth.

Want to go further?

Practice skull studies to internalize bone structure.
Paint age progressions to see how planes shift over time.
Experiment with different lighting (Rembrandt, split, butterfly) to see how planes react.

Now, pick up your brushes—your next portrait awaits!

Tag: Facial Structure for Oil Painters

Mastering Facial Structure for Oil Painters: Planes, Anatomy, and the Art of Realism