A strange thing about drawing the profile view is that novices find it much easier than the other views. Yet, the advanced artist can find the profile quite challenging.
For the advanced artist the challenge lies in the effort to affect a 3-dimensional sculptured look.
Looking at the construct in the profile view observe how the head is broken down into straight lines. Using these architectonic lines conveys a solidity of form.
In the start, you should keep the forms simple. 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 artist will be off, and
2. Once a line is established the logical center of your brain will consider that association as correct one. Therefore, it will look correct to you but everyone else will see the error.
There is a better way. You begin with striking the construct using architectonically straight lines. The main concerns are putting in place the general proportions and form accurately. At a more advanced level you should also consider rhythm and movement.
Instead of at once 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 bottom of the nose. The marker reference for the bottom of the nose is the tiny ledge-like bump.
A plumb-bob is an excellent instrument for correctly placing the bottom 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 relationships to that vertical line. The vertical line is called the plumb-line.
Aligning the plumb-line to the chin allows you more clearly to see the relationship 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 verified that the initial construct and facial angle are accurate you can now proceed with positioning the facial proportions, main anatomical markers, and the hair-line. So, at this stage do not even think about drawing the full 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 draw the general light/dark pattern.
The lights are taken out using a putty eraser. The effect we are seeking is that of a ghost image. That means, above all, not to add minutia. In addition, work from the general to the specific.
Once the general light/dark pattern is developed then the profiled features can be tackled. utilizing a very sharp pencil you can draw upwards from the chin to the forehead carefully seeing the form. As you sketch mumble the anatomical definitions of each feature that you draw. You would be surprised at how that ilucidates 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, demands anatomical reconstruction to get it correct.
A common error beginners make with the profile 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 see that the eye aligns itself with the corner of the mouth.
Further sketching and cross-hatching values are done with 2H and 4H pencils. Decideing 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 unrefined.
In conclusion, sketching the profile view involves the same general ideas relevant to any view. In this situation, the construct is particularly significant. The significant thing to remember is not to place the actual full features of the head too early in the process.
