 Shape > Shadow > Edge > Texture Paul's approach focuses on shapes rather than features. He advises ignoring the fact that you're drawing a face. Adding eyes might seem like a big step, but if they're not perfect, you're stuck with them. Instead, Paul aims to get the basic outline as accurate as possible, making any time spent here worthwhile. Next, he moves on to shadows, starting with the mid-tones and adding the highest and lowest tonal values last. This method allows for adjustments and avoids committing to strong tones too early. Paul explains that the face doesn't have edges; what we perceive as edges are transitions from dark to light tonal values. A hard line represents a fast transition, while an area of curvature is a slower transition. These effects are achieved by adjusting the tonal values in the shadows. Highlights are added last and very sensitively, as they can easily be overdone and need to be kept subtle. Finally, textures are added. Paul also shared a great tip: avoid putting too much detail into ancillary areas like ears and hands, as they can distract from the face. Instead, he suggests hinting at these areas to let the face stand out as the main attraction.
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