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Let's go ahead and create this edge. I need some more value in here, but let's just go
ahead and see if we have enough that we can create a front edge, so that it contrasts
with the inside of that collar. And then we can play around with it, and do some of that
molding later. I'll decide whether I want much dark out here. I don't want to take my
eye out of the drawing too much, but let's go ahead and get a little bit out there. Let's
create this stripe. Let's create this little bit underneath here. Let's create this, and
create a little more contrast here, so that we can see that the stripes are lighter than
what's underneath. When I get out to some of these areas like this, too, like I was
telling you, I like a little pencil quality around the perimeter of my drawing, where
I'm maybe taking an edge, and I may actually just leave it a pencil stroke, as it finishes.
And it adds a nice little touch to the outer perimeter. I like it, anyway. Eraser on there.
So let's get a little more in here. Now, because this is fabric, if I can control
my pencil strokes enough, have them become dominant, and show-- you know, by doing the
patches, how much harder it is to make a smooth gradation, not show the lines, when you have
a softer pencil. But on this, right here, if I can do it well enough that I don't have
those distracting strokes, I can kind of see a little bit more texture in here for the
fabric. It's going to be very dark, but I kind of want to create something that isn't
just smooth. So I can go to my 4H, create a base, it would probably still work quite,
because the 4H-- the 2B and even the 4B, if I chose to use that, will ride on the top
of the tooth, if I maintain it. So that's what I was showing you a little bit ago, and
re-emphasizing the fact that I want to be able to utilize my texture at all times, if
possible. So when you start running out of texture, you've limited yourself in what you're
going to be able to do, and creating maybe some of these wonderful textures, or regulating
the value, or maybe even going darker, because you find there's a limit to how dark you can
go, if you've burnished it down. It's all part of the learning process, though, because
that 4H, some of the harder pencils, they're very valuable and you can use them in many
ways, but you don't want to overdo it and maybe even do a whole level of your drawing,
everything on it, with 4H. I like to work with the darkest first. It keeps me from putting
4H on everything. Gradually, I extend out into the highlights or the lighter parts,
of some of those darker areas, so that I have a gradation and depth. But I don't want to
just overdo it with that 4H, or I can end up by burnishing down my paper before I ever
even get to the softer pencils. Changing direction a little bit, so that I
can have a little more complexity to my stroke, my structure. And one thing that I've mentioned
many times, I don't want to have this become something with a bunch of white pits, because
this, right here, is in the dark. It's on the dark side of a black collar to that jacket,
or whatever he has in there. But I want to not go too far, because I want to be able
to balance it out, make sure it doesn't become too dominant. Maybe it's because I'm chicken;
I don't know. Don't want to over commit. And then at this collar is sticking up. Looks
like it's kind of sticking straight up, and it is kind of-- there's a space in between
this shirt collar and this maybe jacket lining, or whatever. Maybe it's a fleece, or whatever.
I still don't want it to become too dark. And I'm going to suggest that it's going deeper
into the recess by, again, making sure that it's darker down there, even if it's just
subtly suggested.