The next stage, I'm squinting down, looking and adjusting the major masses and have progressively gotten darker the more confident I've become.
Everything has to do with the overall big shape, and in getting a likeness, I'm forcing myself not to think of the details. Everything still is generalized even with the tone, this is so that I don't become too attached to anything too early in the drawing.
In keeping things simple, notice how many straight lines there still are, be they soft or light, faded into the background or sharp to denote a major change in form, the lines are still straight, giving it a boxy look. Most variation that can be found in the form can be easily changed from a straight line. In some instances the "illusion" of variation can be achieved all from simply adjusting the weight of a single line in places where the variation calls for it.
As I begin to get darker with my tone, I'm introducing tertiary tone to begin mapping out smaller shapes inside of the larger ones such as in the forehead and cheeks.
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