For the advanced artist the test lies in the struggle to affect a 3-dimensional sculptured look.
Looking at the arabesque in the side view note how the head 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 point, do not draw all the profiled features. There are two reasons for this:
1. It is very likely that even the most accomplished artist will be off, and
2. Once a line is drawn the logical center of your brain will consider that relationship as right one. Therefore, it will look right 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 key concerns are fixing the general proportions and form correctly. At a more advanced level you should also consider rhythm and movement.
Instead of right away 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 base of the nose. The marker reference for the base of the nose is the tiny ledge-like bump.
A plumb-bob is an good instrument for correctly 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 check vertical alignments (when working with life models) and their relationships to that vertical line. The vertical line is called the plumb-line.
Aligning the plumb-line to the chin allows you more accurately 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 called the "muzzle".
Having confirmed that the initial arabesque and facial angle are accurate you can now continue with placing the facial proportions, key anatomical markers, and the hair-line. So, at this point do not even think about rendering the entire nose. Drawing the nose at this point is a sure remedy for disaster. The angle of the nose and the creation of the tip require a high degree of accuracy.
Instead, begin to lay down the general light/dark pattern.
The lights are taken out using a putty eraser. The effect we are looking for is that of a ghost image. That means, above all, not to add details. In addition, work from the general to the specific.
Once the general light/dark pattern is developed then the profiled features can be done. using a very sharp pencil you can draw upwards from the chin to the forehead carefully seeing the form. As you draw mutter the anatomical terms of each feature that you draw. You would be amazed at how that illuminates the drawing 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 beginners make with the side 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 notice that the eye aligns itself with the corner of the mouth.
Further drawing and hatching values are accomplished with 2H and 4H pencils. Choosing how far you want to take your sketch is an artistic choice you have to make yourself. If you wish, 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 arabesque is particularly significant. The significant thing to recall is not to place the actual entire features of the head too early in the process.
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