Thanks for the reply. I'll take that into consideration. One more thing, if you wouldn't mind answering - do you think I should draw all of the texture, or just parts of it?
One part of the cool things about the techniques on lesson 2 is that you can use them to imply the rest of the texture of the drawings, for example, on the dissections you're told to make a transition towards the center of the organic form, and the center ends up almost white, using the gradients of the texture analysis exercises.
So you can pick a focal point in your drawing or 2, and draw all of the texture in those parts to drive the attention of the viewer to them. Then you can try to imply the texture with less density in other parts so the viewers fill the gaps themselves.
In any case, texture is not the focus of these lessons, so if you decide to do textures, I recommend you to take pics before adding them. Otherwise they can hide the construction which will make them harder to critique.
Yes, I do realize that texture is not the focus of these lessons. Although, I've still been a little confused on the placement of where I use them, should I decide to use them after the construction stage. I can't remember whether or not Uncomfortable said that we can apply textures to where we want our focal points to be.
The thing that also confuses me is what will happen if where we apply textures to our focal points doesn't reinforce the location of the light source. So for instance, if I decide that my focal point is at the center of an object, but the light source is directly pointing towards the center, how do you think I should address this, because otherwise things will contradict? Or is this something that doesn't really matter too much, as you mentioned earlier on?
Apologies for all the questions.
When you're adding texture, you should be relying on the reference, only draw the cast shadows you can see. Another thing you can do is grabbing another reference of the leaves or whatever you're adding texture too, so you got more stuff to use, and add cast shadows to the parts you want, but this is probably overcomplicating it. I'd just stick to what you can see.
This is a remarkable little pen. Technically speaking, any brush pen of reasonable quality will do, but I'm especially fond of this one. It's incredibly difficult to draw with (especially at first) due to how much your stroke varies based on how much pressure you apply, and how you use it - but at the same time despite this frustration, it's also incredibly fun.
Moreover, due to the challenge of its use, it teaches you a lot about the nuances of one's stroke. These are the kinds of skills that one can carry over to standard felt tip pens, as well as to digital media. Really great for doodling and just enjoying yourself.
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