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Agreed with ND- most of the criticisms of the last face still apply here, with no change. Overtly long, thin nose with tiny nostrils. Mouth too low, (which in turn is making the jaw too long). A lot of the back of the head is being cut off.
This is why I've tried to make a point in not engaging in this 'what to do to be original/inspiring/live up to your heroes' conversation, because what your heroes did to get there isn't self-consciously staring at a bunch of cool things and worrying about how to come up with their 'genius cool thing', until they came up with one, and now they're brilliant- they got there by just making a habit of deliberate, ongoing, consistent practice, and taking that practice seriously. That they can and do make cool original things is basically a side effect- a natural, inevitable result- of the developed habit of deliberate, serious, unflinching, informed practice.
I gave you a list of things you need to work on. Concrete, unambiguous issues that you can fix right now- not vague, inactionable soul-searching nonsense. You can just go ahead and change these things for the better right now. GO AND DO THAT.
I agreed that mouth looks a bit low- the general proportion is to take the length from the base of the nose to the bottom of the chin, and place the mouth 1/3rd of that length down from the base of the nose. The one here is placed a little less 1/2 that distance down from the base of the nose.
I also think you may have placed the ear a bit far back on the back of the head, which is making the side of his face seem a bit stretched out- cover up half the picture to just show the front of the face, and it seems alright. Cover up the opposite half, and the side of the head seem alright- but put together, and they don't seem to quite mesh.
Did a bit of a paintover- might have lost some of the character of the face in the process, but I was just trying to get things into a general proportion first and foremost.
-Pushed the ear and back of jaw forward
-added more head to the back of the head.
-thinned neck at the front- to have a neck that large, he'd probably have to have some major trapezius muscles.
-Pushed the (viewer's) left eyebrow a bit to the right.
-Pushed mouth up a touch
-Widened the nose/nostrils (I've noticed a general pattern of you drawing characters with very thin noses- I'd suspect because in line drawing, like comics and anime and such, it's easy to get away with such a stylized nose and have it look attractive- the more realistic you get with the facial structure and rendering, what once worked fine begins to look stranger and stranger.)
I was also taught that it's a good idea to establish the lightest light and darkest dark early- as well as the softest edge and hardest edge- my understanding of the thinking behind that was it was to start thinking about how the picture will work compositionally early on- figure out where you want the viewer's eye to go and make sure you're getting the contrast needed in that area to drive the eye there, then figure out where you want your less active areas to be, and establish that.
It's possible that choice of medium plays a factor in these methods, since graphite/harder mediums lend themselves more readily to 'building up' values, whereas with charcoal it's easier to go dark quick and dial it back later if need be.
In any case, both ways can achieve great results, so I doubt the method of getting there is as important as simply developing a habit of paying close attention to the importance of relative values when working.
@Scosglen I work much the same as you do, and wonder the same things. I brought this up before (jeez, has it really been over 2 years?) when I heard Glen Keane talking about how he draws vs Milt Kahl, who works in a similar fashion as Wrightson:
I really liked- and routinely think back on- @Wassermelone 's comment of, "I don't know how to draw or paint... I know how to correct stuff until its right", which a lot of the time is how it feels. (Also why I hate drawing in front of people that expect me to look like I'm going to shit out some primo-ass art right in front of their faces- as far as I can tell, most people that use a whiteboard on the regular can do a better job of that than I can. Gimme some time to hammer that shit out and I can make something that looks decent, but I always think if people watch me draw they're going to say, "I thought you were an artist...?" after about a minute.)
I've been trying to do more exercises in ballpoint pen to try to force myself to do more work in my head/work towards a more deft execution, but it's something I find pretty challenging. (I also read that Marko Djurdjevic worked exclusively in pen for a year or more and he's pretty dang good at the drawing, so I figured I could give it a shot.) Whether I am likely to succeed in this, or if this will help me actually become a better artist, or if that way of working is actually better in any way or if it just seems more impressive, I don't know.