For the advanced artist the challenge lies in the effort to affect a three-dimensional sculptured feel.

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

In the start, you should keep the shapes simple. Also at this time, do not place 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 logical 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 superior way. You start with drawing the arabesque using architectonically straight lines. The main worries are fixing the general proportions and shape accurately. At a more advanced level you should also consider rhythm and movement.

Instead of straight away including the nose into the arabesque you should use 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 small ledge-like protuberance.

A plumb-bob is an superb instrument for correctly placing the base 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 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 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 established that the initial arabesque and facial angle are accurate you can now proceed with positioning the facial proportions, main anatomical landmarks, and the hair-line. So, at this time do not even think about rendering the complete nose. Drawing the nose at this time is a sure remedy 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 taken out using a kneaded eraser. The look we are seeking 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 taken on. making use of a very sharp pencil you can sketch upwards from the chin to the forehead carefully viewing the shape. As you sketch mutter the anatomical definitions of each feature that you draw. You would be surprised at how that clarifyies the sketching process. Having an idea of the facial anatomy will set your portrait sketching miles ahead of those who do not.

The end of the nose, particularly, demands anatomical reconstruction to get it right.

A common error beginners make with the profile 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 inner corner of the eye you will notice that the eye aligns itself with the node of the mouth.

Further rendering and hatching tones are accomplished with 2H and 4H pencils. Decideing how far you want to take your drawing is an aesthetic choice you have to make yourself. If you want, you can leave the portrait somewhat unrefined.

In closing, sketching the profile view involves the same general principles relevant to any view. In this situation, the arabesque is particularly important. The important thing to remember is not to place the actual complete features of the head too early in the process.