If you are taking this class (or teaching yourself), listen for these specific pieces of feedback. They are the difference between amateur stylization and professional work.
They began not with eyes but with a silhouette, a single confident curve that declared the tilt of a head and the slope of a shoulder. Maru sketched, erased, and sketched again until that silhouette hummed like a familiar chorus. Next came planes: cheek, temple, jaw — broad, simple blocks mapped out like hills on a map. The face needed to be readable, even when the paint was frugal. If you are taking this class (or teaching