This drawing is built primarily on the gradual construction of volume through tonal values, with line playing a secondary role. 

The form of the head is defined more by soft layers of shading than by clear, contour‑driven outlines, reflecting a volumetric and structural way of seeing.

The hand movement is free yet controlled; initial marks are light and exploratory, gradually dissolving into tonal passages. Changes in pencil pressure are used effectively to differentiate planes and describe the curvature of the head.

Most edges remain soft and blended, which contributes to a more natural and cohesive sense of form.

Overall, the technique leans toward a tonal and structural drawing approach, where the main focus is on overall form, proportions, and the rotation of volume rather than linear detail or sharp boundary definition.