Straight into the sketchbook — no transfer, no grid, no second attempt.
The hair is the giveaway that this was fast: sharp flat planes, hard edges, no rendering inside the shapes. It works because the face underneath is the opposite — soft gradients, the rippled rings in the eyes, the small shadows under the piercings.
The floating debris in the background is doing all the storytelling. Remove it and he is just a man scowling. Leave it and the ground is coming apart around him.