Section 7.1: Restorative Art Anatomy & Facial Proportions

Restorative Art Anatomy & Facial Proportions

Restorative art is the care of the deceased to recreate natural form and color. Historically pioneered in the United States by figures like Joseph H. Clarke, it has evolved into a highly specialized discipline within funeral service sciences. Restorative treatments are divided into two main categories: minor restorations and major restorations.

• Minor Restorations: These require minimal effort, time, and specialized technical skill. Examples include tissue building (hypodermic injection), closing minor incisions, waxing small abrasions or razor burns, setting features, and basic cosmetics. Verbal or general permission for preparation is sufficient.
• Major Restorations: These require extensive time, effort, and advanced skill. Examples include restoring missing features (eyes, nose, ears, mouth), correcting third-degree burns, cranial reattachment, major wound filler wax applications, and deep tissue excision. Written permission from the legal next of kin is mandatory before performing any major restorative procedures.

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Cranial and Facial Osteology

A thorough understanding of the skeletal landmarks is essential to locate features and determine the correct boundaries of facial structures.

The Cranium

The cranium consists of eight bones, four of which serve as major landmarks in restorative art:

1. Occipital Bone (1): Forms the back and base of the skull. It contains the foramen magnum, a large opening through which the spinal cord passes. In cases of decapitation or severe head trauma, the foramen magnum is used as a landmark for inserting metal rods to reattach the head. The external occipital protuberance is a prominent projection on the outer surface.
2. Parietal Bones (2): Form the superior and lateral walls of the cranium. The parietal eminences are the marked convexities on the outer surface of these bones. The distance between the parietal eminences represents the widest part of the cranium.
3. Temporal Bones (2): Form the inferior lateral walls and part of the base of the skull. Key landmarks include:
   • Squama: The flat, thin, superior portion.
   • External Auditory Meatus: The opening of the ear passage. It is the primary reference point for placing the reconstructed ear.
   • Mastoid Process: The bony projection posterior to the earlobe, serving as an attachment for the sternocleidomastoid muscle.
   • Zygomatic Arch: The bony bridge extending from the temporal bone to the zygomatic bone. The distance between the zygomatic arches represents the widest part of the face.
4. Frontal Bone (1): Forms the forehead and anterior portion of the roof of the skull. Key landmarks include:
   • Frontal Eminences: Twin rounded elevations on the upper forehead.
   • Superciliary Arches: Bony ridges above the eye sockets, under the eyebrows.
   • Glabella: The smooth, slightly elevated area between the eyebrows.
   • Supraorbital Margins: The upper rims of the eye sockets.

The Face

The facial skeleton consists of fourteen bones, with several playing critical roles in facial symmetry:

1. Nasal Bones (2): Small oblong bones that meet at the midline to form the bridge of the nose.
2. Zygomatic Bones (2): Form the cheekbones and the lateral margins of the orbits. They determine the width of the mid-face.
3. Maxilla (2): Upper jaw bones that form the skeletal foundation for the mouth and nasal floor. The nasal spine of the maxilla is a sharp bony projection at the base of the nasal cavity, serving as the skeletal anchor for the columna nasi of the nose.
4. Mandible (1): The lower jaw, consisting of the horizontal body and the vertical ramus. Key landmarks include:
   • Mental Eminence: The triangular projection forming the chin.
   • Angle of the Mandible: The junction of the body and ramus, determining the jawline.
   • Condyle: The posterior process of the ramus that articulates with the temporal bone.
   • Coronoid Process: The anterior process of the ramus.

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Musculature of Facial Expression

Facial muscles are responsible for producing expressions and creating facial markings (wrinkles, folds, and sulci). Embalmers must understand their location and action to properly set features and apply cosmetics.

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The Canon of Beauty & Facial Proportions

The Canon of Beauty is a system of study established by ancient Greek artists that outlines the standard relationships of facial features on an "ideal" face. In restorative art, these mathematical ratios help reconstruct missing features or check for symmetry.

Horizontal Proportions

The face is divided into three equal horizontal thirds:

1. Upper Third: From the normal hairline (top of forehead) to the glabella (line of the eyebrows).
2. Middle Third: From the glabella to the subnasale (base of the nose).
3. Lower Third: From the subnasale to the mentum (base of the chin).

The lower third of the face (subnasale to mentum) is further subdivided into three equal parts (or a 1/3 to 2/3 ratio):

• Upper 1/3 of the lower third: From the subnasale to the line of closure of the mouth.
• Middle 1/3 of the lower third: From the line of closure of the mouth to the top of the chin (labiomental sulcus).
• Lower 1/3 of the lower third: From the top of the chin (labiomental sulcus) to the mentum (base of the chin).

Proportional Rule: The length of the outer ear is equal to the length of the nose (distance from glabella to subnasale). The ear lies within the middle horizontal third.

Vertical Proportions

The face is five eyes wide at its widest point:

• The distance between the inner canthi of the eyes is equal to the width of one eye.
• The width of the nose (ala to ala) is equal to the width of one eye (the distance between the eyes).
• The width of the mouth (corner to corner) is equal to the width of two eyes (or twice the width of the nose).
• The distance from the outer canthus of the eye to the lateral border of the face is equal to the width of one eye.

Facial Profiles (Lateral View)

A person's lateral profile is classified based on the relationship between two landmarks: the forehead (specifically the glabella) and the chin (mental eminence). There are three basic profile forms:

1. Vertical (Balanced): Forehead and chin project to an imaginary vertical line.
2. Convex: Forehead recedes from the eyebrows and the chin recedes from the upper lip. This is the most common profile type.
3. Concave: Forehead protrudes beyond the eyebrows and the chin protrudes beyond the lower lip. This is the least common profile type.

By combining these three basic types, there are nine possible profile variations:

• Convex-Concave: Forehead recedes, chin protrudes.
• Concave-Convex: Forehead protrudes, chin recedes.
• Vertical-Convex: Forehead is vertical, chin recedes.
• Vertical-Concave: Forehead is vertical, chin protrudes.
• Convex-Vertical: Forehead recedes, chin is vertical.
• Concave-Vertical: Forehead protrudes, chin is vertical.

Facial Shapes (Frontal View)

The geometric shape of the face from the front view falls into one of seven categories:

1. Oval: Egg-shaped; the forehead is slightly wider than the jaw. This is the most common shape.
2. Round (Infantine): Circular; full cheeks and a rounded jawline.
3. Square (Strong): Broad forehead and a wide, angular jaw.
4. Oblong: Long and narrow; the forehead and jaw are of similar width.
5. Triangular: Pear-shaped; a narrow forehead and a wide jaw (least common).
6. Inverted Triangular: Wide forehead and a narrow jaw.
7. Diamond: Wide cheekbones with a narrow forehead and a narrow jaw.