A thicker line can imply something being closer in the foreground, but it has to be within a certain threshold in relation to the other lines in the piece. I think what happened here is that the line is so heavy compared to all the others that it ceases to be a boundary marker and instead starts to feel like like it possesses a volume of it's own. Keep the line thick, just maybe not as extreme.
Plus, you've already done a good job creating a feel of depth through your shading, and the heavy black line dominates and draws the eye away from your grays. I'd say shoot for a line weight like you have for his clavicle and chin - that seems to be the safe upper boundary.
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I think the only crit though is that you might thin out the line on his near tusk - it actually makes it look flatter than the stuff behind it.
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Huh, you think so? I figured the heavy line would imply it was nearer. I'll try shaving it down and see what that does.
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Plus, you've already done a good job creating a feel of depth through your shading, and the heavy black line dominates and draws the eye away from your grays. I'd say shoot for a line weight like you have for his clavicle and chin - that seems to be the safe upper boundary.
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