rac PAN olsyageleut(eyaThe above diagram is representative of a typical head abstraction | use when drawing realistic portraits. It is based off the Reilly and the Watts abstractions. | took from them what made the most sense to me, according to my understanding of facial anatomy. | don’t always use every one of these rhythms and | sometimes add other rhythms not shown here. But these are the most frequently used and most helpful, in my experience. The abstraction can be adapted very easily to caricature when attempting to construct highly exaggerated heads at different angles. The abstraction in caricature helps you to control the anatomy and perspective when used properly.Outline the shape of the head and neck. Draw a centerline down the face and mark off the divisions of the hairline, brow and nose. Draw the brow and eye socket rhythms from one side of the face to the other. Draw the temple rhythm.® Draw the rhythms for the upper and lower eyelids. Draw the nose rhythms, consisting of the 6 front, bottom and side planes. Connect: the bridge of the nose to the brows. @ Draw the ear and ear-to-chin rhythm. 6 Draw the naso-labial rhythm.© Draw the muzzle rhythm. @® Draw the triangular nose-to-chin rhythm. @ Draw the rhythms from the lips and chin. Additional rhythms | sometimes use are: A. Brow - downward arch B. Inner eyelid C. Nasal cartilage D. Lower cheekbone to nose E. Nodes (corners of the mouth)Abstraction Examples