In order to track down a construction it is necessary to find the verticals along which the Vitruvian tripartite division of the face is built. In a three-quarters position this cannot be the centre of the face.
Instead, the central vertical traverses the side of the head that is turned towards the viewer and in Dürer’s work is frequently connected to the neckline of the outer clothing (see Hieronymus Holzschuher and Jakob Muffel).
The portraits of Hans Tucher and Oswolt Krel show in an exemplary manner, since both works were produced in 1499, that Dürer always sought a new solution for each portrait.
For Tucher he placed the central line of the grid with six fields on the back corner of the cloth hanging above and extended it down to the neckline opening of the fur collar. In the case of Krel the line extends from the clothing’s neckline through the spot where the chin ends at the neck and upwards to the crown of the head.
For both men he deploys equidistant dimensions in the zone of the eyes, more intensively in the case of Krel. The radius of a circle inscribed into the grid determines contours of the hat (in the case of Tucher) and elements of the face (for Krel).
Krel’s head is also contained in a parallelogram (see Variants II: Geometric Figures).