For the advanced draftsperson the challenge lies in the effort to affect a 3-dimensional sculptured feel.

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 simple. Also at this point, do not place all the profiled features. There are 2 reasons for this:

1. It is very likely that even the most accomplished draftsperson 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 begin with drawing the construct using architectonically straight lines. The main worries are fixing the general proportions and shape correctly. At a more advanced level you should also consider rhythm and flow.

Instead of immediately including the nose into the construct you should make use of the facial angle, i.e., the line from the forehead to the chin that breaks at the base of the nose. The landmark reference for the base of the nose is the tiny ledge-like bump.

A plumb-bob is an superb tool 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 used to check 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. By the way, the entire area of chin and mouth is called the "muzzle".

Having confirmed that the initial construct and facial angle are correct you can now continue with placing the facial proportions, main anatomical landmarks, and the hair-line. So, at this point do not even think about drawing the entire nose. Rendering 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 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. Also, work from the general to the specific.

Once the general light/dark pattern is drawn 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 observing the shape. As you sketch mutter the anatomical terms of each feature that you sketch. You would be surprised at how that ilucidates the drawing process. Having an understanding 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 side 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 drawing and hatching values are done with 2H and 4H pencils. Decideing how far you want to take your sketch is an creative decision you have to make yourself. If you wish, you can leave the portrait somewhat unrefined.

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