simoncowellart:

This goes along with my last post as an exercise that can be one from observation. 

The steps explained briefly:

A. Draw in the big proportions with few lines.
B. Draw in the basic shadow shapes, keeping the structure of the head in mind at all times.
C. Establish big tonal relationships in the image.
D. Bring in halftones to describe forms turning.
E. Some extra information in the shadow.
F. Modify edges throughout the picture.

A quick word on edges:

Edges and their variations are integral to creating a visual impression of the experience of seeing the world.
The eye sees selectively and doesn’t observe everything around us with equal clarity.
Edges in painting are not only the boundaries of one form, object or surface material to another, they occur
on every side of every tonal shape. Like with tone, there is a range of edges to choose from, going from a
total blur to razor sharp. Decisions must be made on the relative ‘softness’ or ‘hardness’ of these transitions to
achieve a desired result.
When working from observation, most of the answers can be found by observing and especially squinting at your subject. However in many cases it is appropriate to soften or harden an edge based on personal taste and
compositional design choices.