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Dana is now saying that, 'What happens when you've worked on it for a long period of time
and suddenly you realize that there's a dark blemish?' Maybe it's a dot, maybe it's just
an area-- you know, almost like Terry's saying, that doesn't-- you can no longer manipulate,
you can't make it lighter or darker; what are you going to do? I guess if there was
something abnormally dark, you-- first of all, I want you to learn from it, and realize
how vulnerable your paper is, and use a cover sheet, and be careful and adjust your stroke,
so that in the future, you are putting on more of a taper and that sweeping way of putting
on the graphite. This is one reason why I do it, Dana. I-- and if I didn't say, it's
Dana asking. Anyway, that - even though they're short - that tapered stroke has that-- almost
a brushing on of the value, of the graphite. And so just for that very reason, it's much
easier to get off than normal. So now you have to figure out why in the world is that
like that. Is it some substance on your drawing that's collecting the graphite? Is it damage
to the surface of the paper? You can look at it from an angle, at the light, and see
if maybe it got damaged, it's a little roughed up, or there's indentations there. All those
reasons could be reasons why you're not able to take it off.
But you learn from it, and also you learn how to disguise some things, because, like
I said - oh, I don't know; I'm sure I've said it in this series - you can have something
that is just kind of like this. If you have a blemish, it's going to stick out like crazy.
But if you have a tone all the way around it, and there's many other of those dots,
you're going to be hard put to figure it out after a while. If you have something like
this, and you put down this initial tone, how do we make something lighter or darker
in relationship to something else? That's exactly what we have to do; we have it to
make it in relationship to something else. So even though this may seem like it has a
lot of value at this stage, if I go and I put something darker next to it, you almost
won't even know I put that value. Remember how dark that was? I didn't cover it over;
I went up next to it. So that's how you utilize your ranges of value to either show how light
something is, or you can also show-- camouflage what you have. So again, if you have this,
then you don't draw on that anymore; you kind of skip over it, and you draw around it to
make sure that it fits into it's surroundings. And so that's just basically what I do, if
it works. Otherwise, you don't want to have this huge, massive mole on a face, or something--
beauty mark, or something, when it was just a suggested little thing there. You don't
want to overdo it. That's a couple of suggestions, Dana. You
can tell me whether you thought that was worthy of your question.