This was a departure. It was an accident, if I remember correctly; I was so compelled by her face that I put a lot of time into it, and didn’t get to much else except an outline (which I often like to indicate, not by a line at all, but by a contrast in shade between foreground and background. People don’t actually have lines around them).
This one makes the cut mostly on account of his head and face. Speaking of foreground and background, this was a situation in which the hair and background were almost indistinguishable. I’m pleased that I conveyed that, though I didd’t have time to draw in the background on most of it–not that I felt the need to. There’s also some good stuff going on with the hands. When a pose makes visible both hands and both feet, I should pick two at most to focus on. There’s really not time for detail on all four. The result here was that the feet look half-finished. I could have just sketched the gesture of them instead, not even tried to put in any detail.
What am I always telling myself? More contrast! Advice I only occasionally follow. Sometimes I grit my teeth and limit myself to just a few shades: white, black, and almost-black. I did it in the next drawing and it was powerful.
I like how different the hands are on this next one, and how you can tell the tilt of her head from just a few lines. Also, I trusted the shadowy, indistinct nature of her right hand. I really couldn’t make out much except that dark silhouette. It’s hard not to extrapolate and mess up by drawing more than I can really see, but this time I resisted.
The munchkin asked if she could keep this next one. It is her favorite on account of the bun. I didn’t know until then that she considers herself something of an expert in drawing hair, and with good reason–she went on to draw a spectacular hairdo. I got nothing on her for hair.
Still, I did okay with the hair here, but what made me keep this one was the light on the shoulderblades, arm and hands.