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Steve, your response is well illustrated and very clearly written. Thank you for taking the time to go through your critique as thoroughly as you did. You are correct about me starting the drawing on one side of the face and ending up on the other with small measurements along the way. After getting a general idea for the placement of the head on the page, I started with the eye sockets and the drawing went out from there. I worked entirely in pen without an underdrawing in pencil. I have to admit that this, like many drawings that I do in my sketchbook on the train, started out as a "doodle" and it just grew from that into a full page drawing. However, this is no excuse for not having correct proportions to start with. If I'm not going to do it right, why do it at all. I guess the use of a plumb line is in order for future drawings.
In answer to Linda's question, yes, I do hold my sketchbook in my lap while on the train. I think having the book at an odd angle like that can contribute to proportions become distorted. This did happen during this drawing in the width of the face. After holding the sketchbook upright is when I noticed that the face in my drawing looked wider than the model. Drawing in ink, I couldn't go back so I tried to compensate by pulling the rest of the drawing around this flaw. Holding the book at an angle on my lap made the face look thinner - an effect similar to the elongated skull in Hans Holbein the Younger's "The French Ambassadors" (posted below)
Again, Steve thank you for your comment's and thorough critique. I guess you could say I'm in "train"ing. HA!! Really, thank you.
Cheers,
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