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..and yet, I think that we can go ahead and clean up a few highlights, and then I'm going
to use my 4B and push some things a little farther back. And this is the only time that
I would really use it. It's just rare that I ever use the 4B. But I think that probably
most of the time, I find a place where I can go into the darkest place and show something
even deeper; the deepest part of that value. So that's what I'm going to do right now.
And because we only have one overhead camera, I'm going to have to really pay attention
here. Let's go ahead and go a little closer here, so that we can pick out a few things.
Let's look at our source here. Now, it'd probably be good to be able to use my lighter one,
now that I'm thinking about it, so that I can tell where is the deepest part of some
of these dark lines. It's real easy to come in and do-- oh, I'm sorry. I had the wrong
one. It's real easy to just think about this all as almost an eyeliner, and make it all the same. But as you can see,
what I've already tried to do is show a little bit of a difference in the darkest place versus
the lightest place. And so that's what I'm going to do; I'm just going to touch in a
couple of places, still trying to use-- maintain the clean edges, and also keep this is in
a soft transition. But you can see now-- I might back this off, but it's darker here.
It comes over here and gets a little lighter, and it gets darker here.
This is another opportunity for me not to press too hard. I'm coming down to the place
now where I just want to emphasize a few things. I'm going to show where it goes underneath
the eyelid; I love that separation. I want to make sure that that's-- you know, I can
show that to the best of my ability. And that is all quite dark in here, but maybe I can
emphasize that edge just a little bit. We want to know where it disappears. And now
maybe I can come back in. I want to be careful. Just because I have my 4B, I don't want to
go ahead and say, 'Oh, this is a great opportunity; I think I'll make everything dark.' The effort
that I'm making now is to maintain the gradations, maintain the range of value, the same quality
I had built up with all my other pencils. But now I have a chance to push it a little
bit further, just in the darkest places. And if I go away just using almost a line, then
I'm really defeating my purpose, too. I want to have a clean edge, but I don't want to
have it just become a dark line on there. So let's see what we can do here.
Let's go ahead and end this up there. Let's make a little more value in the pupil here.
Taking a few liberties, because it looks like they're quite a bit lighter in this lighter
valued print. I want to see some difference. You notice that-- it almost appears that this
is darker than this. Well, I know this is recessed in there, and so I'm going to take
that opportunity; maybe I can push it back a little bit further. And if I can, you can
see the value in not going to the extreme until you're ready. Maybe just a little bit
of a separation in there. I hope it'll pick up on camera. I think-- I can see it here,
and I hope that I'm pushing it back. But I don't want to just make a big, flat spot;
I want to really show that there is even a deeper part to this area. It would probably
be back closer to this, or maybe up underneath the hair.
Now let's see what we can do about the top. Maybe there's a little bit more value I can
do with this one. If this starts just becoming something that's going to be gaining all the
attention, then I want to be very careful that I'm not just making it too dark. I guess
I can keep emphasizing that, but I don't want to just have it catch the eye; I want it to
enhance the drawing. So I'm going in between a little bit, where there could be the suggestion
of eyelashes here. There's just a little variance in value, and so I want to take my 4B opportunity
to show the spaces in between that are a little darker. Just in a few little touches. Doesn't
take much.