A interesting thing about drawing the profile view is that beginners find it much easier than the other views. Yet, the advanced artist can find the side view quite demanding.
For the advanced draftsperson the test lies in the effort to affect a three-dimensional sculptured look.
Looking at the construct in the side view observe how the skull is broken down into straight lines. Using these architectonic lines suggests a solidity of form.
At first, you should keep the forms plain. Also at this time, do not draw all the profiled features. There are 2 reasons for this:
1. It is very likely that even the most accomplished artist will be off, and
2. Once a line is established the logical center of your brain will consider that relationship as correct one. Therefore, it will look proper to you but everyone else will see the error.
There is a superior way. You start with drawing the arabesque using architectonically straight lines. The principal concerns are fixing the general proportions and shape accurately. At a more advanced level you should also consider rhythm and flow.
Instead of right away incorporating the nose into the arabesque you should utilize the facial angle, i.e., the line from the forehead to the chin that breaks at the base of the nose. The marker reference for the bottom of the nose is the tiny ledge-like protrusion.
A plumb-bob is an superb device for rightly placing the base of the nose. A plumb-bob is a length of thread (preferably black carpet thread) that has a weight attached to it. The plumb-bob is made use of to verify vertical alignments (when working with life models) and their relationships to that vertical line. The vertical line is referred to as the plumb-line.
Aligning the plumb-line to the chin allows you more rightly to see the relationship of brow to chin. The brow is set back from the chin. By the way, the entire area of chin and mouth is referred to as the “muzzle”.
Having confirmed that the initial construct and facial angle are correct you can now proceed with establishing the facial proportions, chief anatomical markers, and the hair-line. So, at this stage do not even think about rendering the entire nose. Rendering the nose at this time is a sure prescription for disaster. The angle of the nose and the construction of the tip require a high degree of precision.
Instead, begin to sketch the general light/dark pattern.
The lights are taken out using a putty eraser. The look we are seeking is that of a ghost image. That means, above all, not to add minutia. In addition, work from the general to the specific.
Once the general light/dark pattern is developed then the profiled features can be taken on. employing a very sharp pencil you can draw upwards from the chin to the forehead carefully seeing the form. As you sketch mutter the anatomical terms of each feature that you draw. You would be amazed at how that ilucidates the drawing process. Having an understanding of the facial anatomy will set your portrait drawing miles ahead of those who do not.
The tip of the nose, particularly, demands anatomical reconstruction to get it right.
A common error novices make with the profile view is placing the eye too far forward. The eye sockets are recessed quite significantly into the head. If you drop a plumb-line from the inside corner of the eye you will see that the eye aligns itself with the node of the mouth.
Further drawing and cross-hatching values are accomplished with 2H and 4H pencils. Decideing how far you want to take your sketch is an creative decision you have to make yourself. If you want, you can leave the portrait somewhat unfinished.
In closing, drawing the side view involves the same general principles relevant to any view. In this situation, the construct is particularly significant. The significant thing to recall is not to place the actual full features of the head too early in the process.
Do you want to learn the secrets of pencil portrait drawing? Download my brand new free pencil portrait drawing tutorial here: pencil portrait tutorial.
Remi Engels is a pencil portrait artist and oil painter and expert drawing teacher. See his work at graphite pencil portraits by Remi.
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