The Makeshift Man, Issue 1, Page 14
Large close-up panels, like the last one here, are the most fun to do. They're comparatively easy; there's nothing more than a suggestion of background at most, there's no complicated action to manage, and there isn't even a full figure. Faces are drawn more than any other one element, so they're more practiced, and when it's something like this, it's big enough that there's no particular challenge in getting the intention of expression to read cleanly (like there is in small or distant figures.) And when you're gonna zoom in for a close-up, it's gonna be some kind of big emotional moment. So the net result is getting a big impact for relatively little heartache. You get to just kick back and have fun rendering details of texture.