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Tips on Pencil Portrait Drawing - The Side View

Published by Remi | January 11th 2009 | Views:

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A interesting thing about drawing the profile view is that beginners 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 effort to affect a three-dimensional sculptured look.

Looking at the construct in the side view observe how the head is broken down into straight lines. Using these architectonic lines suggests a firmness of shape.

In the start, you should keep the shapes plain. Also at this stage, do not draw all the profiled features. There are 2 reasons for this:

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

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

There is a better way. You start with striking the construct using architectonically straight lines. The primary worries are fixing the general proportions and shape properly. At a more advanced level you should also consider rhythm and movement.

Instead of right away including the nose into the construct you should use the facial angle, i.e., the line from the forehead to the chin that breaks at the bottom of the nose. The marker reference for the bottom of the nose is the tiny ledge-like protuberance.

A plumb-bob is an great device for riin. The brow is set back from the chin. Note that the entire region of chin and mouth is referred to as the "muzzle".

Having established that the initial construct and facial angle are correct you can now continue with positioning the facial proportions, primary anatomical markers, and the hair-line. So, at this stage do not even think about rendering the entire nose. Rendering the nose at this stage 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 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 details. Also, work from the general to the specific.

Once the general light/dark pattern is drawn then the profiled features can be taken on. employing a very sharp pencil you can work upwards from the chin to the forehead carefully seeing the shape. As you draw mumble the anatomical terms of each feature that you construct. You would be amazed at how that clarifyies 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, requires anatomical reconstruction to get it right.

A common error novices 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 rendering and cross-hatching tones are done with 2H and 4H pencils. Choosing 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 unresolved.

In closing, drawing the side view involves the same general principles that apply to any view. In this case, the construct is particularly critical. The critical thing to remember is not to place the actual entire features of the head too early in the process.
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