A strange thing about drawing the side view view is that novices find it much simpler than the other poses. Yet, the advanced artist can find the profile quite taxing.

For the advanced artist the test lies in the struggle to affect a 3-dimensional sculptured feel.

Looking at the arabesque in the profile view observe how the skull is broken down into straight lines. Using these architectonic lines suggests a solidity of shape.

At first, you should keep the shapes 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 artist will be off, and

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

There is a superior way. You start with striking the arabesque using architectonically straight lines. The prime concerns are putting in place the general proportions and shape correctly. At a more advanced level you should also consider rhythm and movement.

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 base of the nose is the small ledge-like bump.

A plumb-bob is an great tool 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 utilized 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 rightly to see the relation of brow to chin. The brow is set back from the chin. By the way, the entire area of chin and mouth is called the “muzzle”.

Having established that the initial arabesque and facial angle are right you can now continue with establishing the facial proportions, prime anatomical markers, and the hair-line. So, at this time do not even think about drawing the entire nose. Drawing 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 precision.

Instead, begin to draw the general light/dark pattern.
The lights are painted out using a putty eraser. The look we are looking for is that of a ghost image. That means, above all, not to add minutia. Also, work from the general to the specific.

Once the general light/dark pattern is developed then the profiled features can be taken on. making use of a very sharp pencil you can work upwards from the chin to the forehead carefully viewing the shape. As you draw mumble the anatomical terms of each feature that you draw. You would be surprised at how that illuminates the sketching process. Having an understanding of the facial anatomy will set your portrait sketching miles ahead of those who do not.

The tip 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 inside corner of the eye you will observe that the eye aligns itself with the node of the mouth.

Further sketching and hatching values are done with 2H and 4H pencils. Decideing how far you want to take your sketch is an visual choice you have to make yourself. If you wish, you can leave the portrait somewhat unfinished.

In closing, sketching the profile view involves the same general ideas that apply to any view. In this situation, the arabesque is particularly essential. The essential thing to recall is not to place the actual entire features of the skull too early in the process.

Do you want to learn the secrets of pencil portrait sketching? Download my brand new free pencil portrait drawing tutorial here: pencil portrait course.

Remi Engels is a pencil portrait artist and oil painter and practiced sketching teacher. See his work at graphite pencil portraits.

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