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A curious thing about drawing the side view view is that novices find it much simpler than the other views. Yet, the advanced draftsperson can find the side view quite taxing.

For the advanced draftsperson the test lies in the struggle to affect a three-dimensional sculptured look.

Looking at the arabesque in the profile view note how the skull is broken down into straight lines. Using these architectonic lines communicates a firmness of form.

At first, you should keep the forms plain. Also at this time, do not draw all the profiled features. There are two reasons for this:

1. It is very likely that even the most gifted draftsperson will be off, and

2. Once a line is established the language center of your brain will consider that association as right one. Therefore, it will look right to you but everyone else will see the mistake.

There is a better way. You start with drawing the arabesque using architectonically straight lines. The main concerns are putting in place the general proportions and form accurately. At a more advanced level you should also consider rhythm and movement.

Instead of at once including 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 bottom of the nose. The landmark reference for the bottom of the nose is the small ledge-like bump.

A plumb-bob is an superb instrument for correctly placing the bottom of the nose. A plumb-bob is a length of wire (preferably black carpet thread) that has a weight attached to it. The plumb-bob is employed to verify vertical alignments (when working with life models) and their relations to that vertical line. The vertical line is called the plumb-line.

Aligning the plumb-line to the chin allows you more correctly to see the relation of brow to chin. The brow is set back from the chin. Note that the entire region of chin and mouth is called the “muzzle”.

Having confirmed that the initial arabesque and facial angle are accurate you can now continue with locating the facial proportions, main anatomical landmarks, and the hair-line. So, at this time 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 creation of the tip require a high degree of accuracy.

Instead, begin to draw the general light/dark pattern.
The lights are painted 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 tackled. utilizing a very sharp pencil you can work upwards from the chin to the forehead carefully viewing the form. As you draw mumble the anatomical definitions of each feature that you construct. You would be surprised at how that ilucidates the drawing process. Having an idea of the facial anatomy will set your portrait drawing miles ahead of those who do not.

The end of the nose, particularly, requires anatomical reconstruction to get it correct.

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 skull. If you drop a plumb-line from the inner corner of the eye you will observe that the eye aligns itself with the node of the mouth.

Further rendering and cross-hatching values are accomplished with 2H and 4H pencils. Decideing how far you want to take your drawing is an artistic decision you have to make yourself. If you want, you can leave the portrait somewhat unresolved.

In conclusion, drawing the profile view involves the same general ideas relevant to any view. In this situation, the arabesque is particularly essential. The essential thing to remember is not to place the actual entire features of the skull too early in the process.

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Remi Engels is a pencil portrait artist and oil painter and expert drawing teacher. See his work at pencil portraits.

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