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Do you see that-- yes, we have an edge to the nose, but this dark skin that is exposed
here, because it has no fur on it, is actually going underneath the fur. And so we have those
divisions in between, down through the hairs, where we can see that dark skin out beyond
that hair. Well, if I just draw a line, it isn't going to be natural, and that's one
of the very subtle things about a dog's nose, in particular; when we draw a line, or we
have a pattern for our value, or on that outside, we can miss the opportunity to make sure that
we have a little indication that the black skin is going into the hair, or the white--
or the lighter valued fur is going over the dark skin, whichever way you want to look
at it. And when I'm looking at this, I want to follow all the same rules that I would
anyway. I want to make sure that I'm using logically, where would it be darker? Well,
there is dark on the nose - that's a coloration - but in here, I'm going to say, 'Okay, where
would it be deeper into that little nostril?' and I'll try to just demonstrate that a little
bit, so that there is a-- there is always, even though it seems subtle and not important,
there's always an opportunity to show dimension and depth, by going in where there is less
light. Even in this short, little space. I really think that these are some of the things
that can make your drawings even more successful, if you remember those things. Don't go flat.
And then this is an indentation. It's almost like a dimple in a chin. It would be a deep
recessed area here, and it would be darker in there; it's getting less light, even within
this dark area. I don't want to come in here and take away that option from myself by making
it all one color, in that dark area. I want to really discern where the contours are and,
again, try to avoid having it go flat. Always be aware of the shape, the direction of the
hair, all those things. Wonderful curves and opportunities to show
that flow of the cat. If you just put it all in one direction-- it can happen easy, because
you just get so intent on making all the little hairs and marks that you forget, that it--
it isn't just a matter of putting something on there. You're still trying to represent
this animal, and that flow is really important.