Looking at the distance from the forehead to the edge of the hair, I think the hair just comes a bit more tightly against the face. I'm going to lighten up some of this center lines and any other lines that aren't necessary anymore. We can also take a horizontal plumb line and just check the horizontal alignment of the features. There's just an ever so slight tilt to the eyebrows here and there's a slight slight tilt to To the eyes. There is also a slight tilt to the lips. So I'm marking in dots at the two corners to signify the tilt.

And because I moved the hair back a bit here, I want to maintain the proper width to the head so I'm going to add a bit more hair at the back. I'm going to check the vertical alignment with a vertical plumb line along this point and it comes to right above Hear where the hair is meeting the eyebrows, so somewhere around there, we can also do an angle measurement for the line of the hair here. It's coming up just a bit of an angle. I'm gonna measure the vertical height of the shadow here, and it's just under one of our one third measurements. So I'm just a bit under and I'm gonna start to fill in the shadows. This will help me see more accurately what the shapes of the shadows are forming.

And it'll help me see the drawing more accurately. And remembering that the hair is part of the ball of the face. So the shadow that's created coming through here is continuing through the hair. I've got me up against a cool wall so there's some cool reflected light coming in. And there's a cast shadow underneath the nose. So onto the face the nose is casting a shadow.

So you want form shadows, which are the part of the feature that have a shadow on it. So the form shadow is on the nose, and the cast shadow is casting on to another form from the form itself. So there's The cat shadow under the nose and the form shadow of the nose, and you want the two to blend together. So for now, I'm letting the to blend together and not really having a definition where the edge of the nose is and I'll go back in later to define that. And I also want to continue with the body and make sure that I'm spending a bit of time getting a nice well proportioned body and so that when I move to color in the next stages, I'll be able to just move more quickly and have a lot of fun with it. And I'm just going to move the shirt up a bit to keep it in the frame.

I've composed my painting slightly differently than the photo focusing more in on the face. So when there's a measurement in question, such as this angle change in the shirt right here, what I'll do is I'll take the size of it on my brush so the bottom of my brush is aligned with that angle change on the shirt. And if I just move my brush across to the chin, I can see how far that brought that point is down from the chin. So hold that and move it up to the face, where we know the proportions more accurately. And I'll take a visual measurement of where that's aligning to on the face. And I can see it aligns to about the brow so replicate that on my painting.

And in this way, be able to get the exact placement of that ankle