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Now this is too bright in here, in this area. It's not that bright over here. It's brighter
here than it is on either side, but it's certainly-- I have mine much brighter. So I'm going through
my little mental check list and I'm glancing over at other places on the drawing and saying,
'Okay, this-- I want to make sure that I'm paying attention to those slight gradations,
so that I can show a contour in here. But I want to make sure that I don't get carried
away and make it the same as one of these others that shows something being-- is something
at a different angle, reflecting the light in a different way.'
So these are all just subconscious things that I try to think about. And the more automatic
it becomes, the more, again, you're able to just decide, 'Okay, I think I want this expressed
this way; I want to capture this,' and you don't have to worry about the technique.
Okay, I think this is probably a little brighter. I want to back that up a little bit, because
I want to show contour like so; up, and it comes down and drops over and down towards
the eye again. And yet, it gets a little brighter as it goes this direction. And yet, there's
a little variation in here that shows us that there's just little facets that are capturing
and reflecting the light in a different way. This might help us-- for all practical purposes
it looks like he doesn't have eyebrows, so maybe this will kind of suffice. We can tell
where the eyebrows have been at one time [chuckles] or, you know, the contours kind of still give
him a brow, in some sense of the word. My valuable kneaded eraser. So then, because
I have a contour, I may have some of the detail that-- you know, there's something fairly
defined. But on the other hand, I don't want to come out here and have a darker edge before
I enter the highlight. Or it'd be just like I'm talking about with a shadow, in that you
never want to come out to the edge of the shadow coming into the light and make it darker.
The camera will often lie to you like that, and if there ever was a situation where it
appeared, it's probably the effort of your camera to decipher-- you know, try to explain
what's happening when the light suddenly changes, goes into a light area. Maybe even our minds
can do that. But I've just found for what I do, I like to make sure that I'm always
coming into the light; lighter, lighter, lighter. The farther away I go, it gets darker, darker,
darker. And men all over the world are saying, 'Why
does he have to explain it that way? That sounds kind of like a little juvenile thing
there.' If my pictures are successful-- if my drawings are at another level because I
make up a jingle or I sing to myself, I'll do it [chuckles].
Okay, now I've got this a little darker, that a little darker, I see the apex. So now I
want to see the apex, but I think this all needs to be toned down a little bit. So again,
I'm going to do, just like I do when I have a lot of detail, and I can come across the
dark and the light, and then the dark again, and everything increases in value. If I wanted
this to go flat, then I'd just color in or put value in the lightest area.