A interesting thing about drawing the side view view is that novices find it much easier than the other poses. Yet, the advanced draftsperson can find the side view quite challenging.
For the advanced artist the challenge lies in the struggle to affect a three-dimensional sculptured quality.
Looking at the construct in the side view observe how the head is broken down into straight lines. Using these architectonic lines communicates a firmness of shape.
In the start, you should keep the shapes 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 skilfull artist will be off, and
2. Once a line is established the language center of your brain will consider that association 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 striking the construct using architectonically straight lines. The chief concerns are fixing the general proportions and form correctly. At a more advanced level you should also consider rhythm and flow.
Instead of right away including the nose into the arabesque you should use the facial angle, i.e., the line from the forehead to the chin that breaks at the base of the nose. The signpost reference for the bottom of the nose is the tiny ledge-like protrusion.
A plumb-bob is an great tool for accurately placing the bottom 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 correctly to see the relationship of brow to chin. The brow is set back from the chin. Note that the entire region of chin and mouth is referred to as the “muzzle”.
Having verified that the initial arabesque and facial angle are right you can now continue with establishing the facial proportions, chief anatomical signposts, and the hair-line. So, at this stage do not even think about rendering the complete nose. Drawing the nose at this time is a sure remedy for disaster. The angle of the nose and the creation of the tip require a high degree of precision.
Instead, begin to lay down 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 done. utilizing a very sharp pencil you can work upwards from the chin to the forehead carefully observing the shape. As you draw mutter the anatomical terms of each feature that you draw. You would be surprised at how that clarifyies the sketching process. Having an idea 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 considerably into the head. If you drop a plumb-line from the inside corner of the eye you will notice that the eye aligns itself with the corner of the mouth.
Further sketching and cross-hatching tones are done with 2H and 4H pencils. Choosing how far you want to take your sketch is an aesthetic choice you have to make yourself. If you want, you can leave the portrait somewhat unrefined.
In closing, sketching the side view involves the same general principles relevant to any view. In this case, the construct is particularly critical. The significant thing to remember is not to place the actual complete 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 course here: portrait drawing tutorial.
Remi Engels is a pencil portrait artist and oil painter and skilled sketching teacher. See his work at pencil portraits.
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