Something that struck me whilst working on 'unforgiven' is the difference between my portraits where I have sketched the basic form freehand or where I have used a more scientific approach (grid or trace for me, I have no lightbox), what I notice is a much looser overall finish to the pieces that have been freehand throughout almost as if how the inital sketch of an image is executed colours the whole painting. I'm not aware of any conscious difference in how I continue a painting past that stage. Is this down the necessity of making small corrections to the form as the work progresses versus the fixed, accurate template that one works to if the initial sketch is known to be 100% correct? I have noticed a tendency in my work to elongate faces, particularly noticable in 'Mr Rochester', 'Goodbye Crow' and 'Unforgiven' (which is still in progress so it will be corrected to some extent). I can see the necessity of an accurate start with some media (I've learnt the hard way that with coloured pencils or crayons there's no room for major adjustment so they need to be dead right from the start), pastels however do give a great deal more freedom, discipline & accuracy vs freedom and creativity...interesting.
Pieces that were initially traced (or similar)
...and others that were done entirely freehand.
Hmm...perhaps there's nothing in it afterall in the results, just feel different somehow.