The challenge is to grab what you can till the moment passes. There are times when I can feel the pose and see the angles clearly; where my focus isn’t too tight and my field of vision is such that the connections and relationships of major structural parts and key details are apparent. Then, a relaxed but progressive pace that doesn’t overwork nor overthink the draughtinging and makes use of at least a few tools so that broad areas are developed quickly and details have clarity. The emphasis is on efficiency and fluidity rather than speed.
In the above drawings you can see several tools at work on different paper. Both papers have sufficient sizing so the ink stays moist long enough to be wiped or smeared or dabbed brining the finger into play and adding finger prints and a hazed or brushed look. With a broad brush nib, strips are done in one stroke passing the need of predawn outlines. A range of tones, even if it is only a couple, help distinguish separate elements making features pop and giving the lighting more character.
 
I like to work in ink which once it sets up, prevents further smudging, has tonal strength, forces my hand to limit over drawing contours, and can have cool and warm hues to aid in distinguishing different elements, i.e. a scarf from a shirt, and holds the same edge not requiring constant sharpening.
What a collection here, and thanks for your notes about how you work. You might enjoy what I thought I read “…see the ANGELS clearly…” but it sounded just right to me. Of course all the angels for being around for you to sketch.
Really loved this post and how you describe using the ink. I especially love the fingerprints in the top image of the man sleeping with his cap pulled over his eyes.
Great drawings, Don, love the immediacy and “truth” you get from drawing in the field–same thing I’m striving for in my plein air paintings. Good reasoning, too, for using ink over pencil for sketching. In fact, it seems that you are as much painting as you are drawing in all of your work–that’s what makes it so exciting for me. There is a sense of movement and even “atmosphere” depending upon your calligraphy, choice of pen color, type of paper you use, and your control of value pattern for each portrait. You are simultaneously processing many artistic choices/options as you draw–you are truly a MASTER!
Safe travels, keep up the incredible work: it’s inspiring!
Rick
Thank you much Rick. For me, there is a diaphanous boundary between painting and drawing and I like drifting back and forth. I love drawing out of my head, and enjoy working from source materials but the whole process of engaging my surroundings as I draw continues to help a often flaky fellow engage and process his world. Cheers.