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One of the things you really want to be careful about is-- you know, and I realize this is
repetition, but there's nothing wrong with it. I don't want to just create a big, grey
area here, even though we're going to have a cat that is going to be quite a bit darker.
This is our lightest version. But I like my flat brush. The flat brush, I found, gives
me so much control. It's better than a big, round one. When I have a big, round one and
it's just-- you know, kind of like the make up brushes. They have a tendency to just brush
too much. Well, this one, I can get wide if I wanted to, but I also have a corner and
I have an edge that I can go ahead and regulate where I'm doing it. Now, I don't want, necessarily,
as much value in the white area below the eye as I have out here, maybe. But I also
can come in and keep it from going into the eye, for the most part. But I also want to
keep it from going outside the perimeter of the cat. So when I'm up here, in places like
this, I don't want-- I want to be very careful I'm not sweeping out here, because some of
you will start casting a value out into the white parts of your paper. Now, it becomes
particularly important, because we're going to work on white. I guess you can interpret
it the way you want, but I often work with a white background to bring more attention
to the subject, and it just become a look that I really thought was useful, too, in
many ways. And if I come out here, and I'm brushing out here, and I want to clean up
that white, I don't want to have to come in here and go in between every hair. Although
that's probably what I'm going to have to do to get this all cleaned up. I want to make
sure that I'm not just swiping the opposite way, and taking away that natural edge that
I have for my hair. I don't want to take off that wonderful, varying lengths and all that
stuff. If I'm not careful, I can come in here and clean up, and I'll take off all these
wonderful little ends to the hairs. I want to keep it, even if it's subtle. And so I
don't want to brush too much out here, so I want to be able to come in, so that I'm
complementing the edge. And then I'll come out here and I'll do some clean up out in
the broader areas. And I'll turn it one way or another, so that I don't start creating
even a checker board within the tone that's in there, because it's real easy to do. But
my brush, I want to not come out here; I want to come in like so. Yeah, but this is just
this little place here. This little place here is just to give you a little bit of an
idea. I'm casting some tone in there, but I'm not coming out past the edge of the fur.
And I can do that because I have my flat brush, my little corner and flat brush. So, anyway,
hope that helps a little bit.