Line Weights and Adding Texture
Now, what I'm going to use now would be different line weights. Um, I would want to use now thinner, blind weights to get to my details. Now, this is important we need to have when we draw Ah, collection of line weights from thick to very thick to thin and super thin. All right, so right now we have what I would call an intermediate line weight, and these would be thin. So now I would dio my thin lines here to define This is the back off my chair. This spin doesn't want to work there. Well, it's speak another one. I know this one is a bit thicker, so I will not really press this heart. You see thinner lines for more detailed work. All right, so you need to have a collection of language's. Now, let's, um, test this on the side just to see Okay, this is extra thin. I would do very thin lines over here to suggest highlights. We want to do that, too, to bring, you know, some shiny texture to it. So right now it's at another one here. So right now I have three pieces that are shiny thesis a...
wooden table Ban Hasek loss of finish on it. And that's why we have that highlight there. And these are furniture pieces, tables that have a glass top. That's why we have those outlines. That's how you get the shiny reflection brighter when you add black lines on one side on the other over that white reserve that we have. So now you might ask, What do we do with the floor? Um, we have we have a wooden floor. Do I do I use outlines in black? I don't think we would. We can just use we can just use pencils. And this is when having them, um, sharpened can speed up the process. All right. You can just have Let's say you're tight on a Friday afternoon. You're done work. Uh, you don't have anything else to dio. Well, then just spent 10 minutes sharpening everything so that next week you would have everything ready to go. Because when you're ready, when you have a deadline with a client, you have a date line and you have to work fast. Um, So what I want to hear is just outline some off the wood planks against the squinting trick, you squint a little bit and see if that scene off you're doing a lot. You're doing too little. That would be totally up to you. But I just have that trick in mind. Always, Quint. What happens with your shadows? Your shadows are transparent, so you want to draw your floor planks on top over the shadows. You cannot really touch shadows, right? So they need to have that transparent quality to them. All right, so that's looking good. And you can just draw you see me do some cross lines, right? The planks are not infinite, infinite. They have a certain length. They have to be cut right, eight feet, however long they are. And they need to be set up in the room, depending on how the installer, how the instructions would be received from the installer. Right. You might have the cross lines all lined up or not, but certainly you would have to draw some just to give the client the illusion that they are getting, you know, wood planks. Right? So we do some of these again, we squint a little bit to see We got enough. That's when pencil becomes really handy. mental also comes handy if you want to add, you know, details for wood such as that one here. Or, if you would want to add, for example, some dots to suggest that this is a leather chair or maybe some suede, so you kind of push the texture a bit more.