(This was my first attempt at very dark shades). Something I would have chose before would have been a little bit of dark chocolate but I observed that to get a better outcome, we would need much deeper and darker shades so I went all in. I filled the head and neck with a slightly light chocolate colour and I chose a much darker version for the shadows. Good outline + bad shading + good texture = messy outcome Good outline + good texture + bad texture = messy outcomeīad outline +good shading + good texture = sub-par outcome Messy outline can distort the overall quality of the final image that is why I always encourage people to perfect their flaws bit by bit before attempting a portrait. Now, this is one of the biggest problems for those getting into it. So I improved on my stability until I no longer have to worry about it.
I remember when I started sketching and my hands consistently made a mess out of the outlines, I considered getting a stylus pen but the idea fell through.
My reason? I tend to easily get discouraged when working on full pictures so doing this gave me the kind of "I've-gone-this-far" feeling. I outlined the whole body at a stretch, something I do in bits. Although I still started with the hair, I didn't stop at the head outline. But for this, I strayed a little bit out of the norms. I give it a nice matching texture with the appropriate details before I move to outline the head. Typically, I start an artwork with the hair. But getting them was going to be inevitable on the long run. And ironically, they don't make the shading, shadows and highlights obvious, like the portrait does. I try to avoid full pictures as much as possible because they always require twice as much efforts, and twice - if not thrice - of the time spent. But why is that? They forget that Rome is not built in a day, how do you expect to jump from "I-don't-know-how-it's-done" to perfection overnight? My point is, persistence is also an important factor. When they make attempts at replicating what I've done, they end up disappointed. Overtime, people have continually asked me how I go about tooning and I try to give them the details. What makes a great arwork? A great deal of patience, observation and of course creativity.
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