Moving forwards, we start to break down more of the forms we see in our reference, building it directly on top of the scaffolding we've created so far. At no point should you ever let go of your awareness of the major planes and angles of the face. For example, if you look at the lower jaw, while I'm getting much more complex, I'm still allowing my silhouette to turn around the clear corner that exists between the front and side of that form, as defined by the underlying construction.
Also, always consider the "footprints" that additional forms have on the existing ones. For example, the ears are not just flat shapes pinned onto the silhouette - the tiger's left ear (our right) connects to a specific location that we can see. The other one, due to the angle of the head, is connecting further back where the footprint would not be visible.
We're also building the eyelids with full awareness of the eyeball that exists underneath them. Because the lids conform to and wrap around the eyeball, having that form present beforehand is very important and serves as a helpful guide.
Lastly, an important note - when drawing eyes, or really anything that appears black in your reference image, DO NOT FILL IT IN WITH SOLID BLACK. I cannot stress this enough - we have an urge to fill in what we see as black, but this is no different from the orange of the tiger's fur. Just because it lines up with the colour we're drawing with does not mean that there is any benefit to filling it in. Instead, you should be treating everything in your subject matter as though it were solid white or grey.
Ultimately, as you'll see in the next image, we can decide what we want to fill in, but at this point it will rob you of some of the constructional cues that help you understand the forms you're working with, and how they relate to one another in space.