When it comes to tone, It can be tricky because depending on how adept the person is in painting and handling masses, one could jump to tone rather quickly.
In a portrait, I've found that I've had to jump ahead and combine stages that I wouldn't normally with the figure because of how much less of the body I'm working with.
Notice even here, and all the way through, I'm still considering my edges and how that impression is reflected in nature.
The major shapes are all there, at this stage I'm just pushing them around and adjusting them in relation to themselves and the overall shape of the head.
I'm working only in two tones, a slight shadow tone which is blending with the surroundings, and the light "tone" which is everything else.
Since it becomes a bit easier to see the drawing when tone is introduced, and the greatest strength in using sight size, I flick my eye back and forth from the drawing to the model. Think of how animators flick from drawing to drawing to see movement. The same is true of this technique.
Get into the right position where the horizontal points match and then stare at the model, flick the eye quickly from the model to the drawing and then back again. Stare at the model more than the drawing. After a while of doing this you should be able to memorize what is different between the two, and make the needed changes. This is easier to do in tone as you begin to work in masses.
As my instructors tell me, try not to think, react. Go with the first impressions and don't intellectualize it.
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